METROPOLITAN  MUSEUM  OF  ART. 


HANDBOOK  No.  8. 


The  Vanderbilt  Collection 


OF 


DRAWINGS, 


IN  THE 


EAST  G-ALLERIES. 


(FIRST  EDITION .) 


PUBLISHED  BY  THE 


METROPOLITAN  MUSEUM  OF  ART. 

M!  A.Y,  1891. 


RHODE  ISLAND 
SCHOOL  OF 
DESIGN . 


METROPOLITAN  MUSEUM  OF  ART. 


HANDBOOK  No.  8. 


The  Vanderbilt  Collection 


D RAWS  MGS, 

IN  THE 


EAST  G-ALLERIES. 


( FIRST  EDITION.) 


PUBLISHED  BY  THE 

METROPOLITAN  MUSEUM  OF  ART. 


MA.Y.  18S1. 


INTRODUCTORY  NOTE. 


This  collection  was  begun  in  the  latter  part  of  the  last  century 
by  Count  Maggiori , of  Bologna , a learned  scholar  and  connoisseur , 
and  a member  of  the  Academy  of  Sciences  in  that  city.  It  has 
gradually  been  increased  by  additions  from  the  celebrated  collections 
of  Signor  Marietta , Professor  Angelini , Doctor  Guastalla  and  Mr. 
fames  Jackson  Jarves , our  Vice-Consul  at  Florence. 

In  1880,  it  was  purchased  from  the  latter  gentleman  and 
generously  presented  to  the  Museum  by  MR.  CORNELIUS 
VANDERBILT one  of  its  Trustees. 

The  attributions  of  authorship  and  the  division  into  schools  are 
by  former  owners,  while  a general  chronological  sequence  in  each 
school  was  attempted  here.  The  practical  difficulties  in  carrying  out 
this  plan,  however,  were  so  great  that  it  was  abandoned  in  some  cases. 
In  choosing  a method  of  displaying  the  collection,  the  aim  was  to  give 
all  possible  facilities  for  study  and  copying  and  yet  to  prevent  hand- 
ling. 

The  next  edition  of  the  handbook  will  probably  contain  an  essay 
upon  the  period  of  Italian  painting  illustrated  by  this  collection. 


INDEX 


BY 


CASES  AND  SCHOOLS. 


WEST  SIDE. 


I. 

1-19. 

Roman. 

XVII. 

338-350. ' 

II. 

20-49. 

Florentine. 

XVIII. 

351-373. 

III. 

50-65. 

Roman. 

XIX. 

374-387. 

IV. 

66-87. 

Florentine. 

XX. 

388-404. , 

V. 

88-106. 

Roman. 

XXI. 

405-419. ) 

VI. 

107-126. 

Florentine  & Roman. 

XXII. 

420-445.  j 

VII. 

127-144.  j 

y Sienese. 

XXIII. 

446-461.  ( 

VIII. 

145-166.  1 

1 

XXIV. 

462-479.  £ 

IX. 

167-187.  i 

I Parmese,  Mantuan, 

XXV. 

480-490.  ) 

X. 

188-208.  1 

f etc. 

XXVI. 

491-525. ) 

XI. 

209-221. ' 

XXVII. 

526-540. ' 

XII. 

222-253. 

XXVIII. 

541-560. 

XIII. 

254-271.  j 

V Bolognese. 

XXIX. 

561-580. 

XIV. 

272-298. 

XXX. 

581-603. 

XV. 

299-312. _ 

XXXI. 

604-613. 

XVI. 

313-337- 

Neapolitan. 

XXXII. 

614-634. . 

EAST  SIDE. 


Venetian. 


Dutch. 


French. 


Architectural 
and  Decorative. 


[An  index  by  artists  will  be  fouyid  at  the  end  of  the  catalogue. 


CATALOGUE. 


CASE  I.  ROMAN  SCHOOL. 

1.  School  of  Raphael. — Figure  Studies. 

2.  Raffaello  Sanzio,  (born  Urbino,  1483;  died  Rome,  1520;  first 

studied  with  Perugino  [see  No.  172];  1501,  assistant  of  Pinturicchio  at 
Siena;  about  1504  visited  Florence  and  saw  works  of  Michael  Angelo 
[see  No.  27],  of  Leonardo  [see  No.  174],  and  of  older  masters;  especially 
influenced  by  Masaccio  [see  No.  22] ; about  1508  summoned  to  Rome 
for  work  upon  the  Vatican;  employed  there  until  his  death;  principal 
works  there,  though  many  smaller  pictures  elsewhere; — the  most 
symmetrically  developed  of  all  painters;  extremely  fertile  in  design,  rapid 
and  accurate  in  execution,  and  thoroughly  graceful,  and  poetic  in  senti- 
ment; inspired  a host  of  followers  and  imitators.)  Figure  of  Man 
with  outstretched  arms  about  to  plunge  downward. 

3.  Raphael. — Group  in  the  Massacre  of  the  Innocents. 

4.  SCHOOL  of  Raphael. — Soldier  Pursuing  a Man  in  a Crowd. 

5.  Giovanni  Francesco  Penni,  called  II  Fattore,  “the  appren- 

tice;” (b.  Florence,  1488;  d.  Rome,  1528;  early  settled  in  Rome;  pupil 
of  Raphael  became  his  steward,  and,  with  Giulio  Romano,  was  made 
joint-heir  of  his  estate  and  charged  with  completing  his  unfinished 
works; — close  imitator  of  Raphael;  so  few  of  his  works  remain  that  his 
own  ability  cannot  be  determined.)  The  Virgin  and  Child. 

6.  School  of  Raphael. — Nude  Figure  Looking  Upward. 

7.  Giulio  Romano,  (painter  and  architect;  b.  Rome,  1492,  d. 

1546;  favorite  pupil  of  Raphael;  his  joint-heir  with  G.  F.  Penni  [see 
No.  5];  rebuilt  and  decorated  the  Palace  at  Mantua,  which  was  his 
greatest  work  both  in  painting  and  architecture;  prevented  by  death 
from  becoming  architect  of  St.  Peter’s; — excelled  in  battle-scenes;  had 
somewhat  of  Michael  Angelo’s  grand  style,  but  was  sometimes  too 
harsh  and  violent  in  his  designs.)  Nude  Figure  with  Cloak. 

8.  Giulio  Romano. — A Battle. 

9.  School  of  Raphael. — An  Athlete. 

10.  School  of  Raphael. — Saint  and  Three  Children. 

11.  Marco  Antonio  Raimondi,  (engraver;  b.  Bologna,  1487-8, 

d.  about  1539;  pupil  of  Francesco  Raibolini  [Bolognese,  1450-1518]; 
attracted  Raphael’s  notice;  employed  by  him  and  by  Giulio  Romano 
to  engrave  their  works;— style  excellent;  imitated  Andrea  Mantegna  [see 
No.  167],  and  afterwards  Diirer  [see  No.  446.])  St.  Paul  Preaching 
at  Athens.  (After  Raphael’s  cartoon,  now  in  England.) 


G 


METROPOLITAN  MUSEUM  OF  ART. 


12.  Giovanni  Francesco  Penni. — After  a Battle  or  a Plague. 

13.  Giulio  Romano. — Page  Presenting  Wine. 

14.  School  of  Raphael — Two  Female  Figures. 

15.  Giulio  Romano. — A Cavalry  Skirmish. 

16.  School  of  Raphael. — Figures. 

17.  Maturino,  (b.  Florence,  1490,  d.  Rome,  ? 1527-8;  scholar 

and  assistant  upon  details  of  Raphael ; fellow-student  of  antiques  with 
Polidoro  [see  No.  56],  and  his  intimate  friend  and  business  partner; 
after  Polidoro  the  most  graceful  and  popular  decorator  of  his  time.) 
Warriors  Fighting  from  the  Back  of  an  Elephant. 

18.  M.  A.  Raimondi,  [see  No.  11.]  Composition  for  a Spandrel. 

19.  School  of  Raphael. — Soldiers  Running  with  Ropes. 

CASE  II.  FLORENTINE  SCHOOL. 

20.  21.  Antonio  Pollajuolo,  (sculptor,  painter,  engraver;  b. 

Florence,  1433,  d.  1498;  with  his  brother  Pietro  educated  by  his  father 
as  goldsmith;  studied  modeling  and  casting  under  Ghiberti  [see  No. 
Ill];  assisted  upon  famous  Ghiberti  Gates  in  Church  of  S.  Giovanni; 
studied  painting  under  his  brother  Pietro  [1428-1498] ; the  Pollajuoli 
said  to  have  been  the  first  Italians  to  practice  human  dissection  for  art 
study; — strongly  influenced  by  training  in  plastic  work  and  by  study  of 
the  antique;  the  first  to  use  oil  instead  of  tempera  as  a vehicle.)  Nude 
Youths  Leaning  on  Staves. 

22.  Tommaso  da  S.  Giovanni,  called  II  Masaccio,  “the  dirty 

fellow,”  (b.Val  d’Arno,  near  Florence,  1402,  d.  about  1440;  name  taken 
from  his  slovenly  habits;  studied  under  Masolino  da  Panicale  [Floren- 
tine, 1378-1415]  and  Brunelleschi  [see  No.  561],  from  works  of  Ghiberti 
[see  No.  Ill]  and  Donatello  [Florentine,  1383-1466],  and  from  an- 
tiques at  Rome; — began  a revolt  against  rigidity  and  conventionality, 
seeking  greater  naturalness,  more  skillfully  chosen  attitudes,  and  better 
reasoned  draperies;  called  one  of  the  Fathers  of  Painting,  both  for  his 
distinct  advance  upon  previous  styles  and  because  many  of  his  succes- 
sors, particularly  Raphael,  formed  their  styles  by  studying  his.)  Ecce 
Homo  ! - the  Dead  Christ  Supported  by  two  Cherubs. 

23.  Andrea  Vannucchi,  called  del  Sarto,  “the  tailor’s  son,” 

(b.  Florence,  1487,  d.  1531;  began  under  a goldsmith  and  engraver  of 
little  repute;  then  a pupil  of  Piero  di  Cosimo  [Florentine,  1441-1521]; 
learnt  most  from  works  of  Masaccio  [see  No.  22],  Ghirlandajo  [Floren- 
tine, 1449-1493],  Leonardo  [see  No.  174],  Michael  Angelo  [see  No. 
27],  and  Raphael  [see  No.  2];  extensively  employed  in  Italy;  1518,  in- 
vited to  France,  but  soon  returned;  died  in  poverty  and  despair; — often 
called  “the  Faultless,”  because  with  a marked  command  of  technique 
he  unites  a certain  grace  and  intelligibility  which  are  very  pleasing; 


CATALOGUE  OF  DRAWINGS. 


7 


represents  the  maturity  of  the  Florentine  school  in  beauty  and  perfection 
of  work,  but  lacks  earnestness  and  sublimity.)  Bishop  and  Saint. 

24.  Andrea  del  Sarto. — Monk  and  Soldier. 

25.  Andrea  del  Sarto. — Old  Man  with  Staff. 

2G.  Andrea  del  Sarto. — Youthful  Head. 

27.  Michele  Angelo  Buonarrotti,  (fresco-painter,  sculptor, 

architect,  poet;  b.  Castel  Caprese,  Tuscany,  1475,  d.  Rome,  1563;  first 
studied  under  Ghirlandajo  [Florentine,  1449-1493],  but  soon  outgrew 
him;  1489,  began  careful  study  of  antiques  gathered  by  Lorenzo  de 
Medici;  patronized  by  Lorenzo  till  his  death;  1505,  summoned  to  Rome 
by  Julius  I.  to  decorate  ceiling  of  Sistine  Chapel;  engaged  in  Rome  till 
his  death; — a solitary  giant  in  art-history,  remarkably  precocious,  of 
original  and  daring  imagination;  unrivalled  in  anatomical  knowledge; 
harassed  and  saddened  by  the  licence,  intrigue  and  injustice  of  his 
times;  character  and  imagination  developed  more  upon  their  gloomier 
sides.)  Man  Seated  on  the  Ground  and  Looking  Upward. 

28.  Andrea  del  Sarto,  [see  No.  23.] — Landscape. 

29.  Giuliano  Bugiardini,  (b.  Florence,  1471,  d.  1554;  first 

studied  under  Bartoldi,  an  insignificant  sculptor;  then  a comrade  of 
Michael  Angelo  in  the  Medici  Gardens  [see  No.  27];  a successful  imi- 
tator and  portrait-painter.)  A Warrior  Flinging  Himself  Forward. 

30.  Jacopo  Carrucci  da  Pontormo,  (b.  Pontormo,  1493,  d.  1558; 

pupil  of  Leonardo  [see  No.  174],  Piero  di  Cosimo  [Florentine,  1441- 
1521],  M.  Albertinelli  [Florentine,  1475-1520],  and  Andrea  del  Sarto 
[see  No.  23],  the  latter  of  whom  he  assisted; — good  portrait-painter, 
but  late  in  life  undertook  to  imitate  Dilrer  [see  No.  446],  and  in  con- 
sequence his  most  extended  work,  a series  of  frescoes,  upon  which  he 
labored  eleven  years,  was  a complete  failure,  and  was  subsequently 
destroyed.)  Vestal  Virgin  with  Jar  of  Sacred  Fire  in  her  Lap. 

31.  Baccio  della  Porta,  called  Fra  Bartolommeo,  (b.  Flor- 

ence, 1476-7,  d.  1517;  began  under  Piero  di  Cosimo  [Florentine,  1441- 
1521],  but  derived  certain  characteristics  from  Flemish  masters  and 
from  Leonardo  [see  No.  174];  admirer  of  Savonarola,  and  in  1500, 
after  his  death,  a Dominican,  whence  his  common  name;  1509-17, 
partner  of  his  early  comrade,  Albertinelli  [Florentine,  1475-1520]; — up- 
held the  then  new  method  of  oil-painting;  the  best  colorist  of  his  school; 
exquisitely  graceful,  dignified  and  well  balanced,  but  limited  in  imagi- 
nation and  feeling.)  Woman  and  Child  Kneeling. 

32.  Fra  Bartolommeo. — The  Holy  Family. 

33.  Fra  Bartolommeo. — The  Virgin  and  Child. 

34.  Andrea  del  Sarto,  [see  No.  23.] — Landscape. 

35.  Baccio  Bandinellt,  (painter,  sculptor;  b.  1487,  d.  1559; 

studied  sculpture  under  Francesco  Rustici  [Sienese,  1595-1625];  turned 


8 


METROPOLITAN  MUSEUM  OF  ART. 


to  painting  in  hope  of  excelling  Michael  Angelo; — good  designer;  noted 
for  bass-reliefs.)  Seated  Satyr,  with  head  of  same  enlarged. 

36.  Andrea  del  Sarto. — Man  Seated,  Writing  on  his  Knee. 

37.  Antonio  Tempest  a,  (painter,  engraver;  b Florence,  1555, 

d.  1630;  pupil  of  Santo  di  Titi  [see  No.  71]  and  of  Giovanni  Stradano 
[Flemish -Florentine,  1536-1605]; — enormously  fertile;  excelled  in  cav- 
alry skirmishes ; painted  history  and  landscape,  besides  doing  much 
decorating;  works  usually  quite  small ; produced  a multitude  of  etchings 
of  mythological  and  sacred  subjects.)  A Martyrdom  by  Impaling. 

38.  Baccio  Bandinelli,  [see  No.  35.] — A Hunter. 

39.  Andrea  del  Sarto,  [see  No.  23.] — Landscape. 

40.  Michael  Angelo,  [see  No.  27.] — Heads  of  Four  Demons. 

41.  Baccio  Bandinelli,  [see  No.  35.] — Nude  Figure,  Seated. 

42.  School  of  Michael  Angelo,  [see  No.  27.] — Statue  in  Niche. 

43.  Benvenuto  Cellini,  (sculptor,  medalist;  b.  Florence,  1500, 

d.  1570;  studied  metal-working  under  Marcone,  a goldsmith,  seal- 
engraving under  Lautizio;  also  medal-making  and  enameling; — displayed 
from  the  first  much  originality  and  force;  author  of  treatise  on  sculp- 
ture.) Neptune  in  his  Car. 

44.  Antonio  Tempest  a,  [see  No.  37.] — A Group. 

45.  School  of  Michael  Angelo. — Prophet  with  Book. 

46.  School  of  Michael  Angelo,  [see  No.  27.] — The  Crucifixion. 

47.  Antonio  Tempesta,  [see  No.  37.] — A Skirmish. 

48.  Francesco  di  Rossi  di  Salviati,  (b.  Florence,  1510,  d.  Rome, 

1563;  fellow-student  of  Vasari  [see  No.  580]  under  Andrea  del  Sarto 
[see  No.  23],  and  Baccio  Bandinelli  [see  No.  35]; — restless  and  quarrel- 
some; of  considerable  fertility,  learning  and  skill;  works  scattered  every- 
where in  northern  Italy.)  The  Descent  from  the  Cross. 

49.  School  of  Michael  Angelo. — Studies  of  Three  Heads. 


CASE  III.  ROMAN  SCHOOL,  (continued from  Case  I.) 

50.  Giulio  Romano,  [see  No.  7.] — The  Massacre  of  the  Innocents. 

51.  Niccolo  dell’  Abati,  (b.  Modena,  1512,  d.  Paris,  1571 ; pupil 

of  sculptor  Antonio  Begarelli  [Modenese,  1499-1565],  perhaps  of 
Correggio  [see  No.  173];  after  acquiring  high  reputation  at  Modena, 
invited  to  Bologna;  there  admired  by  the  Caracci  [see  Nos.  224,  225, 
254];  principal  assistant  of  Primaticcio  [see  No.  222]  at  Fontainebleau; 
— skillful  and  facile,  rather  than  masterly.)  Triumph  of  Neptune. 


CATALOGUE  OF  DRAWINGS. 


9 


52.  Giulio  Romano,  [see  No.  7.] — Soldiers  and  Leopards. 

53.  School  of  Giulio  Romano. — Cavalry  Battle. 

54.  Fra  Sebastiano  Luciano,  called  del  Piombo,  “of  the  leaden 

seal;”  (b.  Venice,  1485,  d.  Rome,  1547;  studied  under  the  aged  Gio- 
vanni Bellini  [Venetian,  1422-1512]  and  under  Giorgione  [see  No.  352]; 
developed  first  as  portrait-painter;  invited  to  Rome  by  Agostino  Chigi 
to  work  upon  his  palace,  now  the  Farnesina;  feeling  his  inferiority  to 
Raphael,  studied  under  Michael  Angelo,  who  is  said  to  have  furnished 
him  designs;  commissioned  for  companion  piece  to  the  Transfiguration 
of  Raphael;  the  two  pictures  exhibited  together;  after  Raphael's  death, 
the  most  distinguished  painter  in  Rome; — coloring  very  beautiful,  but 
design  weak  and  execution  irresolute.)  A Birth-Scene. 

55.  School  of  Raphael,  [see  No.  2.] — Two  Nude  Athletes. 

56.  Polidoro  Caldara  da  Caravaggio,  (b.  Caravaggio,  1495, 

murdered,  Sicily,  1543;  very  poor;  went  to  Rome  and  carried  mortar 
for  artists  in  the  Vatican;  tried  imitating  Raphael’s  designs  with 
enough  success  to  become  his  pupil;  persistent  student  of  the  antique; 
painted  friezes  accompanying  Raphael’s  works  in  the  Vatican; 
executed  many  frescoes  with  his  friend  Maturino  [see  No.  17];  1527, 
driven  from  Rome  to  Naples  and  Sicily  by  the  Spanish  invasion;  got 
employment  in  Naples  through  Andrea  del  Sarto  [see  No.  23];  mur- 
dered for  a paltry  sum  of  money.)  Historical  Scene. 

57.  Polidoro  da  Caravaggio. — The  Rape  of  the  Sabines. 

58.  Polidoro  da  Caravaggio. — Sack  of  a City. 

59.  Pierino  Buonaccorsi,  called  del  Vaga.  after  one  of  his 

teachers,  (b.  near  Florence,  1509,  d.  Rome,  1547;  early  placed  under 
Ghirlandajo  [Florentine,  1485-1560];  1515,  taken  to  Rome  by  del 
Vaga;  introduced  to  Giulio  Romano  [see  No.  7]  and  G.  F.  Penni  [see 
No.  5];  finally  admitted  to  Raphael’s  school;  assisted  Raphael,  Gio- 
vanni da  Udine  [see  No  545],  Giulio,  Penni  and  Polidoro  [see  No.  50]; 
1527,  driven  to  Genoa  by  sack  of  Rome  by  the  Spaniards;  there  em- 
ployed on  the  Palazzo  Doria;  later  returned  to  Rome  and  was  exten 
sively  patronized; — had  great  versatility  and  some  of  Raphael’s  power 
and  spirit,  but  to  make  money  contented  himself  with  providing  designs 
for  assistants  to  execute.)  Christ  and  the  Woman  of  Samaria. 

60.  Polidoro  da  Caravaggio,  [see  No.  56.] — Roman  Scene. 

61.  Giulio  Romano,  [see  No.  7.] — Waiting  at  the  Gates. 

62.  Pierino  del  Vaga. — Historical  Scene. 

63.  Giulio  Romano. — Historical  Scene. 

64.  Pierino  del  Vaga. — Christ  Carrying  the  Cross.  (After  Raphael.) 

65.  School  of  Raphael,  [see  No.  2.] — The  Sacrifice  of  Noah. 


10 


METROPOLITAN  MUSEUM  OF  ART. 


CASE  IV.  FLORENTINE  SCHOOL,  [continued from  Case  J I.) 

66.  Michael  Angelo,  [see  No.  27.] — Head  for  a Statue. 

67.  Unknown,  (16th  century.) — The  Virgin  and  Child,  with  two 

Saints  Kneeling. 

68.  Salviati,  [see  No.  48.] — Copy  of  Michael  Angelo’s  Last  Judg- 

ment in  the  Sistine  Chapel. 

69.  Federico  Zuccaro,  (b.  S.  Angiolo  in  Vado,  1543,  d.  Ancona, 

1609;  studied  under  his  brother  Taddeo  [see  No.  84];  his  assistant  and 
successor;  traveled  throughout  Italy,  France,  Spain,  Flanders  and  Eng- 
land ; painted  domes  of  church  of  Sta.  Maria  de’  Fiori  at  Florence,  and 
of  the  Cappella  Paolinaat  Rome; — displayed  much  talent,  but  fell  into 
extravagances  and  mannerisms;  in  imitation  of  Vasari  [see  No.  589], 
wrote  a treatise  upon  art,  of  little  value.)  Christ  in  the  Garden. 

70.  Benvenuto  Cellini,  [see  No.  43.] — A Vase. 

71.  Santo  di  Titi,  (painter,  architect;  b.  Citta  S.  Sepolcro,  1538, 

d.  1603;  pupil  of  Agnolo  Bronzino  [see  No.  78],  Cellini  [see  No.  43], 
and  Bandinelli  [see  No.  41];  employed  at  Rome  and  Florence;-— con- 
scientious and  graceful,  but  without  special  originality  or  depth;  “fresh 
ness  and  health  ” of  his  faces  remarked  by  Lanzi.)  Child’s  Head. 

72.  Antonio  Tempesta,  [see  No.  37.] — A Duel. 

73.  Federico  Zuccaro,  [see  No.  69.] — Christ  in  the  Garden. 

74.  Pontormo,  [see  No.  30.] — The  Expulsion  from  Eden. 

75.  Pontormo. — Female  Figure  Looking  Upward. 

76.  Bernardino  Barbatelli,  or  Poccetti,  (b.  Florence,  1548, 

d.  1612;  pupil  of  Michele  di  Ridolfi  [Florentine,  flourished  about  1550]; 
painted  history,  but  most  successful  in  decorative  work;  rich  and  grace- 
ful in  composition.)  Design  for  Ceiling. 

77.  Antonio  Tempesta,  [see  No.  37.] — Lot  and  his  Daughters. 

78.  Agnolo  Bronzino,  (b.  Florence,  1511,  cl.  1580;  pupil  and 

imitator  of  Pontormo  [see  No.  30];  comrade  of  Vasari  [see  No.  5S0]; — 
excelled  in  portraits.)  Descent  of  Christ  into  Hades. 

79.  Cristofano  Allori,  called  Bronzino,  after  his  great-uncle 

Agnolo,  (b.  Florence,  1577,  d.  1621;  pupil  of  his  father  Alessandro 
[Florentine,  1535-1607]  and  of  Santo  di  Titi  [see  No.  71]; — original 
and  powerful;  considerably  above  the  average  of  his  time,  but  of  such 
vicioushabits  that  he  painted  little;  good  portraitist.)  Female  Head. 

80.  Francesco  Zuccarelli,  (b.  Pitigliano,  1702,  d.  Florence, 

1788;  studied  successively  under  Paolo  Anesi  [Florentine,  flourished 
about  1720],  Morandi  [Florentine,  1822-1717],  and  Pietro  Nelli(?);  be- 
gan with  history,  but  soon  changed  to  landscape,  for  which  he  had 
much  natural  talent;  1752-73,  in  England;  one  of  original  members  of 


CATALOGUE  OF  DRAWINGS. 


11 


the  Royal  Academy;  returning  to  Italy,  lost  all  his  savings;  thus  obliged 
to  resume  work  in  old  age;  name  means  “little  pumpkin,”  hence 
pictures  often  marked  with  a pumpkin.)  Landscape. 

81.  Antonio  Tempesta,  [see  No.  37.] — Europa  Carried  off. 

82.  Antonio  Tempesta. — Two  Female  Figures  with  Angels  above. 

83.  Giovanni  Manozzi  da  S.  Giovanni,  (b.  S.  Giovanni,  near 

Florence,  1590,  d.  1636;  pupil  of  Matteo  Roselli  [Florentine,  1578- 
1650]; — deserted  his  master’s  simple  and  finished  style;  tendency  to 
extravagance;  acquired  a great  reputation;  incredibly  prolific.)  The 

Flight  into  Egypt — the  incident  of  the  kind-hearted  robber. 

84.  Taddeo  ZuccARO,(b.  S.  Angelo  in  Vado,  1529,  d.  Rome,  1566; 

studied  with  his  father,  Ottaviano,  and  Pompeo  da  Fano,  and  after- 
wards under  great  difficulties  at  Rome;  recognized  as  a pleasing  artist; 
employed  there  and  elsewhere; — agreeable  and  intelligible,  but  neither 
correct  nor  consistent;  pictures  merely  collections  of  portraits  with  con- 
ventional figures  added.)  A Royal  Feast. 

85.  Antonio  Tempesta,  [see  No.  37.] — The  Flight  into  Egypt, — 

the  rest  in  the  wheat-field. 

86.  Antonio  Tempesta. — Two  Figures. 

87.  Antonio  Tempesta.- — Aeneas  and  Achates  Entering  Dido’s 

Palace  in  a Cloud. 

CASE  V.  ROMAN  SCHOOL,  (continued from  Case  III.) 

88.  Unknown. — The  Entombment. 

89.  Daniele  Ricciarelli  da  Volterra,  (b.  Volterra,  1609,  d. 

Rome,  1566;  pupil  of  II  Sodoma  [see  No.  153],  Peruzzi  [see  No.  146], 
del  Yaga  [see  No.  59],  and  Michael  Angelo  [see  No.  27];  1547-9,  suc- 
ceeded del  Vaga  as  superintendent  of  public  works  in  the  Vatican;  em- 
ployed by  Paul  IV.  to  clothe  nude  figures  in  Angelo’s  Last  Judgment; 
his  greatest  work,  the  Deposition  from  the  Cross,  in  the  Cappella 
Orsini  in  the  Church  of  La  Trinity  dei  Monti,  was  ranked  only  be- 
low Raphael’s  Transfiguration  and  Domenichino’s  Communion  of  St. 
Jerome;  it  was  destroyed  in  the  attempt  to  remove  it  from  Italy.)  Ecce 
Homo  ! 

90.  School  of  Polidoko  da  Caravaggio,  [see  No.  56.] — Mucius 

Scaevola  Burning  off  his  Hand  before  Porsenna. 

91.  Unknown. — A Saint  Reading. 

92.  Cavaliere  Giovanni  Lorenzo  Bernini,  (painter,  sculptor, 

architect;  b.  Naples,  1598,  d.  Rome,  1680;  very  precocious;  genius 
observed  and  nourished  from  the  first;  astonishingly  popular  and 
sought  for  at  Rome,  in  France  and  England;  many  works  at  Rome; 


12 


METROPOLITAN  MUSEUM  OF  ART. 


very  ardent  temperament; — developed  an  affected  style  which,  though 
very  influential,  was  also  very  short-lived.)  An  Angel  in  Adoration. 

93.  Unknown. — A Saint  Healing  the  Sick. 

94.  Niccolo  dell’  Abati,  [see  No.  .51.] — A Roman  Triumph. 

95.  Cavaliere  Giovanni  Lanfranco,  (b.  Parma,  1581,  same  day 

with  Domenichino  [see  No.  209],  d.  Rome,  1048;  early  under  Agostino 
Caracci  [see  No.  254];  studied  Correggio’s  works  carefully ; then  under 
Annibale  Caracci  [see  No.  224]  at  Rome;  very  envious  of  Domenichino, 
whom  he  crowded  out  of  several  partially  finished  commissions ; com- 
pleted cupola  of  S.  Andrea  della  Valle,  begun  by  Domenichino,  with 
surprising  skill ; — lacked  sweetness  and  grace;  negligent  in  execution, 
exuberant,  but  unreasoning  in  invention.)  Monk  Reading. 

96.  Unknown,  (late.) — Virginius  and  Virginia.  ? 

97.  Carlo  Maratti,  (b.  Camurano,  1625,  d.  Rome,  1713;  favor- 

ite pupil  of  Andrea  Sacchi  [Roman,  1599-1661];  persistent  student  of 
Raphael’s  style  [see  No.  2]  ; painted  many  Madonnas; — correct,  elegant 
and  pleasing,  but  negative  and  imitative.)  The  Holy  Family,  At- 
tended by  Cherubs. 

98.  Unknown. — Woman  Kneeling. 

99.  Pompeo  Batoni,  (b.  Lucca,  1708,  d.  Rome,  1787; — once  very 

popular,  but  of  ordinary  talent  and  slight  education.)  Bull-Fight. 

100.  Andrea  Pozzo,  (painter,  architect;  b.  Trent,  1642,  d.  Vienna, 

1709;  educated  by  observing  great  works  at  Turin,  Venice  and  Rome; 
a Jesuit,  and  much  employed  by  his  order;  worked  at  Rome,  Genoa 
and  Vienna; — able  and  correct  designer ; excellent  colorist;  most  facile 
in  execution.)  St.  Augustine  and  the  Child  on  the  Sea-shore. 

101.  Giovanni  Carlo  Lotti,  or  Loth,  (b.  Munich,  1632,  d. 

1698;  formed  his  style  by  studying  the  works  of  M.  A.  Caravaggio 
[see  No.  313]  and  as  pupil  of  Cav.  Pietro  Liberi  [Venetian,  1605-1687] ; 
painted  mostly  at  Venice  and  Vienna;  imitated  Guercino  [see  No.  210] 
somewhat.)  The  Sacrifice  of  Isaac. 

102.  Unknown. — Man  Walking. 

103.  Unknown. — Group  of  Heads. 

104.  Unknown. — Four  Men  Arguing. 

105.  Philip  Roos,  called  Rosa  da  Tivoli,  (b.  Frankfurt,  1655,  d. 

Rome,  1705;  sent  to  Italy  by  Landgrave  of  Hesse;  eager  student, 
confining  his  attention  principally  to  rural  scenes,  designing  entirely 
from  nature,  settled  at  Tivoli  where  his  work  could  be  easiest  prose- 
cuted;—a real  genius,  very  successful  with  landscapes  and  cattle;  ruined 
by  dissipation.)  A Pastoral. 

106.  Gerard  Honthorst,  called  Gherado  dalle  Notti,  (1) 

Utrecht,  1592,  d.  Hague,  1660;  pupil  of  Abraham  Ploemart  [Dutch. 


CATALOGUE  OF  DRAWINGS. 


13 


1564-1647],  but  coming  to  Rome  became  an  imitator  of  M.  A.  Cara- 
vaggio  [see  No.  313];  after  a considerable  stay  in  Italy,  visited  England, 
and  finally  settled  at  Hague; — nicknamed  from  his  constant  choice  of 
night-scenes  with  their  advantages  for  striking  effects  of  chiaroscuro.) 

The  Adoration  of  the  Shepherds. 

CASE  VI.  FLORENTINE  AND  ROMAN  SCHOOLS,  {contin- 
ued from  Cases  I V & V.) 

107.  Salviati,  [see  No.  48.] — Studies  for  Figure  of  Warrior. 

108.  Pontormo,  [see  No.  30.] — Building  a City. 

109.  School  of  Michael  Angelo, [see  No.  27.] — Prophetic  Figur  j. 

110.  Unknown,  (Roman  School.) — A Head. 

111.  112.  Lorenzo  Ghiberti  (?),  (painter,  sculptor;  b.  Florence, 

1378,  d.  about  1455;  taught  drawing,  modeling,  and  metal-casting  by 
step-father  Bartoluccio,  goldsmith;  1398,  driven  from  Florence  by  the 
plague  to  Rimini  where  he  made  some  frescoes ; competed  for  commis- 
sion to  make  bronze  doors  of  Florentine  Baptistery;  Ghiberti,  Brunelles- 
chi [see  No.  561],  and  Donatello  [Florentine  sculptor.  1383-1466] 
4 were  adjudged  the  work,  but  the  two  latter  withdrew;  labored  about 
forty  years  upon  the  doors, which  have  excited  universal  admiration;  — 
style  still  somewhat  stiff,  but  growing  towards  vigor  and  grace.)  Groups. 

113.  Il  Rosso,  (painter,  architect;  b.  Florence,  1496,  committed 

suicide,  Paris,  1541;  student  of  works  of  del  Sarto  [see  No.  23],  of 
Angelo  [see  No.  27],  and  of  Parmegiano  [see  No.  171];  after  achieving 
some  success  at  Florence,  removed  to  Rome,  whence  in  1527  he  was 
driven  to  Volterra;  visited  Venice;  finally  settled  in  France;  became 
superintendent  of  public  works  at  Fontainebleau;  killed  himself  through 
remorse  for  having  unjustly  suspected  and  prosecuted  a friend  for  rob- 
bery;— gifted  and  original;  tended  to  too  great  independence,  and 
hence  often  passed  from  the  grand  to  the  extravagant;  extremely 
polished  and  cultivated.)  Anatomical  Study  of  the  Human  Figure. 

114.  Pierino  DEL  Vaga,  [see  No.  59.] — Study  for  Statue. 

115.  Daniele  da  Volterra,  [see  No.  89.] — Studies  of  Falling 

Figures. 

116.  Golgio  (?). — Martyrdom. 

117.  Giulio  Romano,  [see  No.  7.]— The  Madonna  and  Child. 

118.  Guglielmo  Caccia,  called  II  Moncalvo,  from  a town  where 

he  long  resided,  (b.  Montabone,  in  Piedmont,  1568,  d.  1625;  master 
unknown ; successful  at  Milan,  Pavia,  and  elsewhere  ; assisted  and 
imitated  by  his  two  daughters  ; — style  similar  to  Roman  school.)  The 

Adoration  of  the  Kings. 

119.  Unknown,  (Roman  School.) — Soldier  Carrying  a Helmet. 


14 


METROPOLITAN  MUSEUM  OF  ART. 


120.  Cavalicre  Giovanni  Paolo  Pannini,  (b.  Piacenza,  1691,  d. 

about  1764;  early  went  to  Rome;  studied  under  Pietro  Lucatelli  [Roman 
1660-1741],  landscape-painter;  devoted  himself  to  ruins  of  ancient 
buildings  in  Rome; — correct  and  graceful  in  design  and  execution.) 
A Group  of  Ruins. 

121.  Pietro  Testa,  called  II  Lucchesino,  from  his  birth-place, 

(painter  and  engraver;  b.  Lucca,  1617,  drowned  in  the  Tiber,  1650; 
probably  began  study  under  Pietro  Paolini  [Roman,  1603-1681];  after- 
wards under  Domenichino  [see  No.  209]  and  Pietro  da  Cortona  [see 
No.  591];  designed  extensively  from  antique  ruins; — very  defective  in 
many  details,  such  as  attitudes  and  chiaroscuro,  but  free  and  firm  in 
drawing;  female  heads  often  very  beautiful.)  Fortune’s  Wheel. 

122.  Unknown,  (Roman  School.) — Antiope,  one  of  the  Amazons. 

123.  Niccolo  dell’  Abati,  [see  No.  51.] — Storming  a City. 

124.  Pietro  Testa,  [see  No.  121.] — Joseph  Sold  by  his  Brothers. 

125.  Unknown,  (Roman  School  ) — The  Massacre  of  the  Innocents. 

126.  Andrea  Pozzo,  [see  No.  100.] — Apollo  Slaying  the  Python. 

CASE  VII.  SIENESE  SCHOOL. 

127.  Domenico  Beccafumi,  called  Micarino,  (painter,  sculptor, 

engraver;  b.  Siena,  1484,  d.  1549;  tended  sheep  as  a boy;  receiving 
some  instruction  at  home,  sent  to  Rome  to  study  master-pieces  there; 
returning,  acquired  high  fame;  he  designed  the  mosaic  pavement  of 
Cathedral  of  Siena.)  Festal  Procession,  (see  Nos.  129,  134  and  139.) 

128.  Giovanni  Paolo  Rosetti,  (b.  Volterra;  flourished  about 

1568;  nephew  of  Daniele  da  Volterra  [see  No.  89],  with  whom  he 
studied;  good  historical  painter.)  Aphrodite. 

129.  Domenico  Beccafumi. — Festal  Procession,  (see  Nos.  127, 134 

and  139.) 

130.  Domenico  Beccafum’. — Roman  Galleys. 

131.  132.  Domenico  Beccafumi. — Studies  of  Drapery. 

133.  Cavaliere  Francesco  Vanni,  (b.  Siena,  1565,  d.  1610;  to 

Rome  when  16  years  old;  studied  under  Giovanni  de  Vecchi  [Roman, 
1536-1614];  designed  from  the  antique  and  from  works  of  great 
masters;  especially  imitated  Baroccio  [see  No.  140];  returned  to  Siena, 
visited  Lombardy,  studied  at  Parma;  was  employed  both  at  Rome  and 
Siena;  though  a close  follower  of  Baroccio’s  general  style,  surpassed 
him  in  the  accuracy  and  spirit  of  many  details.)  St.  Agatha,  with 
the  Shears  and  Palm. 

134.  Domenico  Beccafumi,  [see  No.  127.] — Festal  Procession, 

fcee  Nos  127,  129,  139.) 


CATALOGUE  OF  DRAWINGS. 


15 


135.  Cavaliere  Francesco  Vanni. — Head  of  a Man  Asleep. 

136.  Antonio  Tempesta,  [see  No.  37.] — Horses. 

137.  Unknown,  (perhaps  Yanni  [see  No.  133].) — Figure  Holding 

Picture  of  the  Madonna  and  Child. 

138.  Unknown. — Soldier  About  to  Stab  a Woman. 

139.  Domenico  Beccafumi,  [see  No.  127.] — Festal  Procession, 

(see  Nos.  127,  129,  and  134.) 

140.  Federico  Baroccio,  (painter,  engraver;  b.  Urbino,  1528, 

d.  1612;  sculptor’s  son;  studied  with  Battista  Veneziana;  when  20  years 
old,  to  Rome,  under  patronage  of  Cardinal  della  Rovere;  returned  to 
Urbino  four  years  later;  afterwards  paid  second  visit  to  Rome,  exe 
cuting  several  notable  works; — elegant  and  graceful,  resembling  Correg- 
gio [see  No.  173],  but  somewhat  affected.)  Woman  in  Adoration. 

141.  Federico  Baroccio. — Meeting  of  Mary  and  Elizabeth. 

142.  Unknown,  (late.) — The  Virgin  Enthroned. 

143.  Unknown. — Study  of  Drapery. 

144.  Unknown,  (Modenese  School.) 

CASE  VIII.  SIENESE  SCHOOL,  {continued from  Case  VJI.) 

145.  G.  P.  Rosetti  (?),  [see  No.  128.] — The  Madonna  Surrounded 

by  Saints. 

146.  Baldassare  Peruzzi  da  Siena,  (painter  and  architect;  b. 

Accaiano,  near  Siena,  1481,  poisoned,  Rome,  1536;  taught  by  unknown 
master;  at  Rome  the  intimate  friend  of  Raphael  [see  No.  2];  probably 
his  comrade  as  pupil  of  Bramante  [Roman  architect,  about  1450-1514] ; 
— of  very  high  rank;  modesty  prevented  acquisition  of  just  reputation 
during  life-time;  excellent  architect;  always  hampered  by  poverty; 
poisoned  by  a rival.)  The  Prophecy  of  the  Tiburtine  Sibyl. 

147.  Unknown,  (probably  Sienese.) — Martyrdom. 

148.  Unknown. — Angels  Carrying  St.  Catharine  to  Mount  Sinai. 

149.  Federico  Baroccio,  [see  No.  140.] — The  Annunciation. 

150.  Federico  Baroccio. — Studies  of  Heads. 

151.  Cavaliere  Francesco  Vanni,  [see  No.  133.] — The  Marriage  of 

St.  Catharine. 

152.  Cavaliere  Francesco  Vanni. — The  Annunciation. 

153.  Cavaliere  Giovanni  Antonio  Razzi,  called  II  Sodom  a, 

probably  by  an  error  of  copying  for  11  Sodona,  (b.  Vercelli,  in  Piedmont, 
about  1479,  d.  1554;  after  study  at  home,  formed  style  by  examining 
Leonardo’s  works  [see  No.  174];  worked  in  the  Vatican:  pictures  there 


16 


METROPOLITAN  MUSEUM  OF  ART. 


destroyed  to  make  room  for  Raphael;  best  works  at  Siena; — style  sim 
ilar  to  Leonardo’s,  but  of  inferior  dignity  and  power.)  Martyrdom 

of  St.  Sebastian. 

154.  1l  SODOMA. — Chorus  of  Maidens. 

155.  Federico  Baroccio,  [see  No.  140.] — The  Madonna  and  Child 

156.  Baldassare  Peruzzi,  [see  No.  146.] — Roman  Triumph. 

157.  Unknown,  [possibly  Vanni,  (see  No.  133.)] — St.  Agnes. (?) 

158.  Federico  Baroccio. — A Votive  Madonna. 

159.  Unknown. — Two  Saints  in  Adoration. 

160.  Federico  Baroccio. — Subject  Doubtful. 

161.  Lorenzo  Costa,  (b.  Ferrara,  d.  1530;  pupil  of  Francesco 

Francia  [Bolognese,  1450-1517],  whose  style  he  copied.)  Adoration 

of  the  Madonna. 

162.  Unknown,  (Ferrarese  .School.) — Forging  Armor. 

163.  Pietro  Damini,  (b.  Castelfranco,  1592,  d.  1631;  aroused  high 

expectations  by  early  work,  but  died  without  becoming  great;  style 
elegant,  but  changeable.)  Three  Saints  in  Adoration. 

164.  Unknown,  (Ferrarese  School.) — Figures. 

165.  FedErico  Baroccio,  [see  No.  140.*] — The  Annunciation. 

166.  Unknown,  (Sienese  School.) — Historical  Scene. 

CASE  IX.  SCHOOLS  OF  PARMA,  MANTUA,  PERUGIA,  etc, 

167.  Cavaliere  Andrea  Mantegna,  (painter,  engraver;  b.  near 

Padua,  1431,  d.  Mantua,  1506;  drover’s  son;  noticed,  instructed  and 
adopted  by  Francesco  Squarcione  [Paduan,  1394-1474];  first  public 
work  in  17th  year;  carefully  studied  antiques  collected  by  Squarcione. 
neglecting  nature ; afterwards  strove  to  supply  this  deficiency ; best  works 
at  Mantua.)  Design  for  one  compartment  of  The  Triumph  of 
Julius  Caesar.  (The  Triumph  of  Ccesar  was  a series  of  nine  pictures 
originally  painted  for  the  Palazzo  di  San  Sebastiano  at  Mantua;  their 
great  excellence  gained  Andrea  the  honor  of  knighthood;  they  were 
carried  off  at  the  sack  of  the  city  by  the  Germans,  subsequently 
brought  to  England,  and  are  now  lodged  at  Hampton  Court  in  a very 
dilapidated  condition.) 

168.  Unknown,  (School  of  Parma.) — Rustic  Scene. 

169.  School  of  Andrea  Mantegna,  [see  No.  167.] — Judith  and 

the  Head  of  Holofernes. 

170.  Andrea  Mantegna,  [see  No.  167.] — Roman  Scene. 

171.  Gerolamo  Francesco  Maria  Mazzola,  or  Mazzuoli, 

called  II  Parmegiano  or  Parmegianino.  (b.  Parma,  1503,  d Casal- 


CATALOGUE  OF  DRAWINGS. 


17 


maggi°re,  1540;  educated  by  uncles  Michele  and  Filippo;  early  work 
entirely  after  Correggio  [see  No.  173] ; when  20  years  old,  to  Rome  for 
study;  driven  to  Bologna  by  sack  of  1527;  thence  to  Parma;  died  of 
disappointment  occasioned  by  financial  difficulties  growing  out  of  his 
excessive  taste  for  alchemy; — graceful  and  lovely  in  the  extreme;  sacri- 
ficed everything  to  obtain  charming  expression  in  grouping,  outline, 
color  and  detail.)  Medea  (?). 

172.  Pietro  Vannucci,  called  Perugino,  (b.  near  Perugia,  144G, 

d.  1524;  being  very  poor,  probably  studied  at  Perugia  with  Benedetto 
Bonfigli  [Perugian,  1420-after  1500] ; invited  to  Rome  to  work  in  Sistine 
Chapel; — somewhat  stiff  and  conventional,  yet  presaging  the  greater 
freedom  of  later  times.)  Angels. 

173.  Antonio  Allegri  da  Correggio,  (b.  Correggio,  near 

Modena,  1494,  d.  1534;  probably  had  little  instruction,  yet  rapidly 
attained  skill  and  power;  traveled  very  little,  probably  never  in  Rome; 
— grand  and  beautiful;  the  first  master  of  foreshortening;  chiaroscuro 
and  coloring  excellent;  design  broad  and  noble.)  The  Nativity. 

174.  Leonardo  da  Vinci(?),  (painter,  architect,  engineer,  physi- 

cist, musician,  poet;  b.  Vinci,  on  the  Arno,  1452,  d.  Paris,  1519;  pupil 
of  Andrea  Verrochio  [Florentine,  1432-1488];  displayed  extraordinary 
abilities  from  youth;  1494,  invited  to  Milan  by  the  Duke,  and  employed 
successively  as  architect,  engineer  and  painter;  1500,  driven  by  defeat 
of  his  patron  by  the  French  to  Florence;  there  engaged  in  a memor- 
able rivalry  with  Michael  Angelo  '[see  No.  27];  1513,  visited  Rome; 
invited  thence  to  France,  where  he  died;  - inimitable  in  combination  of 
grandeur  and  strength  of  conception  with  accurate  delicacy  of  handling; 
a great  master  in  expression  of  thought  and  character.)  Studies  of 
Woman  with  Candle,  and  of  a Head. 

175.  Bernardino  Luini  (?),  (b.  Luino,  near  Lago  Maggiore, 

about  1460,  d.  after  1530;  remarkably  close  imitator,  and  probably 
pupil  of  Leonardo  [see  No.  174];  immense  confusion  from  similarity  of 
their  styles.)  A Feast, — perhaps  the  Marriage  at  Cana. 

176.  Leonardo  da  Vinci  (?),  [see  No.  174.] — A Head. 

177.  Il  Parmegiano,  [see  No.  171.] — La  Pieta. 

178.  Bernardino  Luini,  (see  No.  175.) — The  Scourgingof  Christ. 

179.  School  of  Correggio,  [see  No.  173.] — The  Holy  Family. 

180.  Unknown,  (School  of  Parma.) — The  Virgin  and  Child,  with 

St.  Anna. 

181  II  Parmegiano,  [see  No.  171.]- — Group  of  Three  Figures. 

182.  Il  Parmegiano. — Skirmish. 

183.  Luca  Cambiaso,  (b.  Genoa,  1527,  d.  Madrid,  1585;  pupil  of 

his  father,  Giovanni  [Genoese,  1495-?];  studied  assiduously  at  Florence 


18 


METROPOLITAN  MUSEUM  OF  ART. 


and  Rome;  1583,  invited  to  Spain  to  work  upon  the  Escurial; — very 
rapid,  but  correct;  versatile,  spirited,  pleasing.)  Christ  Bound. 

184.  Pietro  Perugino,  [see  No.  172.] — Heads  of  Two  Saints. 

185.  Luca  Cambiaso,  [see  No.  183.] — Mother  and  Children. 

186  II  Parmegiano,  [see  No.  171.] — Madonna  and  Child  En- 
throned. 

187.  Gaudenzio  Ferrari,  (b.  Valdugia,  in  the  Milanese,  1484, 
d.  1550;  pupil  of  Perugino  [see  No.  172],  Stefano  Scotto  [Milanese, 
flourished  about  1600],  and  Luini  [see  No.  175];  learned  most  from 
Leonardo’s  works  [see  No.  174],  and  from  assisting  Raphael  at  Rome; 
— original  in  choice  of  attitudes;  superior  to  his  school  in  design  and 
color.)  The  Entombment. 


CASE  X.  SCHOOLS  OF  PARMA,  MANTUA,  etc.,  {continued 

fro?n  Case  IX.) 

188.  Correggio,  [see  No.  173.] — Subject  doubtful. 

189.  Ermenigildo  Lodi,  (flourished  about  1615;  prominent  pupil 

of  Cavaliere  G.B.Trotti  [Cremonese,  1555-after  1G07.])  Prison  Scene. 

190.  Pellegro  Piola,  (b.  Genoa,  1617,  murdered,  1640;  master 

not  known;  resembles  Ludovico  Caracci  [see  No.  225];  probably  killed 
by  a rival.)  Vulcan  Giving  Arrows  to  Cupid. 

191.  Alessandro  Bonvicino,  called  II  Moretto,  “the  tawny,” 

(b.  Brescia,  1514(?),  d.  1564;  taught  by  Titian  [see  No.  339],  whom  he 
imitated  in  many  respects; — heads  very  graceful;  devotional  attitudes 
good;  coloring  fresh.)  St.  Margaret  and  the  Dragon. 

192.  Il  Moretto,  [see  No.  191.] — The  Madonna  and  Child  En- 

throned, with  St.  Agatha  and  Lucia. 

193.  Correggio,  [see  No.  173.] — The  Adoration  of  the  Shepherds. 

194.  Correggio. — Boys  Dancing. 

195.  CoRREGGlo(?) . — Four  Cherubs. 

196.  197,  198,  200,  201,  203,  206,  207.  Conte  Giorgio  Durante, 

(b.  Brescia,  1683,  d.  1755; — famous  for  accurate  and  tasteful  repre- 
sentations of  flowers  and  animals)  Birds. 

199.  Unknown,  (School  of  Cremona.) — The  Madonna  and  Child 
Enthroned. 

202.  Donato  Creti,  (b.  Cremona,  1671,  d.  Bologna,  1749;  studied 
under  Lorenzo  Passinelli  [Bolognese,  1629-1700] ; — imitated  Simone 
Cantarini  [Pesaro,  1612  1648]; — without  originality;  coloring  harsh; 
suffered  for  thirty-six  years  from  insomnia.)  Endymion. 


CATALOGUE  OF  DRAWINGS. 


19 


204.  Giovanni  Benedetto  Castiglione,  (painter,  engraver;  b. 

Genoa,  1616,  d.  1670;  pupil  of  G.  B,  Paggi  [Genoese,  1554-1629]  and 
of  Giovanni  Andrea  de  Ferrari  [Genoese,  1598-1669];  traveled  and 
painted  throughout  Italy;  attempted  various  classes  of  subjects,  but 
most  famous  for  rural  scenes  and  for  animals ; picturesque,  accurate 
and  spirited.)  Studies  of  Animals’  Heads. 

205.  Conte  Giorgio  Durante,  (see  No.  196.) — Mouse. 

208.  School  of  Luini,  (see  No.  175.) — The  Scourging  of  Christ. 

CASE  XI.  BOLOGNESE  SCHOOL. 

209.  Domenico  Zampieri,  called  Domenichino,  (b.  Bologna, 

1581,  d.  1641;  studied  with  success  at  school  of  the  Caracti  [see  Nos. 
224,  225  and  254]  with  Albani  [see  No.  273];  traveled  for  study; 
finally  to  Rome;  there  assisted  Annibale  Caracci  [see  No.  224],  besides 
undertaking  commissions;  driven  from  Rome  to  Bologna  by  hatred  of 
rivals,  especially  of  Lanfranco  [see  No.  95] ; again  invited  to  Rome 
and  extensively  employed;  -admirable  landscapist;  in  expression  of 
character  second  only  to  Raphael  [see  No.  2];  in  all  respects  great.) 
St.  Peter  Released  from  Prison. 

210.  Giovanni  Francesco  Barbieri,  called  Guercino,  “squint- 

eye,”  (b.  Cento,  near  Ferrara,  1590,  d.  1666;  began  very  young ; had  little 
instruction;  probably  studied  works  of  Ludovico  Caracci  [see  No.  225]; 
— had  three  styles;  first  imitated  harsh  contrasts  of  M.  A.  Caravaggio 
[see  No.  313],  then,  after  visiting  Bologna,  Venice,  Rome,  displayed 
great  beauty  of  color  and  mastery  of  foreshortening,  chiaroscuro,  and 
relief,  though  without  corresponding  power  and  grace  of  conception; 
finally,  after  Guido  Reni’s  death  [see  No.  .212],  in  seeking  to  imitate 
his  sweetness,  lapsed  into  weakness.)  Three  Children’s  Heads. 

211.  Guercino. — Man  Stabbing  Himself. 

212.  Guido  Reni,  (b.  Bologna,  1575,  d.  1642;  musician’s  son; 

pupil  first  of  Denis  Calvart  [Bolognese,  1555-1619],  and  then  at  school 
of  the  Caracci  [see  Nos.  224,  225,  254],  becoming  favorite  scholar  of 
Ludovico;  set  himself  to  overcome  popular  taste  for  bizarre  works  of 
M.  A.  Caravaggio  [see  No.  313];  obtained  reputation;  invited  to 
Rome  with  Albani  [see  No  273]  ; at  first  favorably  received,  but  soon 
aroused  animosity  of  artists  by  repeated  success;  returned  to  Bologna; 
recalled  thence  to  Rome  by  the  Pope ; after  executing  many  great  works, 
settled  finally  at  Bologna,  where  his  gaming  propensities  led  him  to  sell 
poor  work  to  raise  money; — the  artist  of  the  charming,  in  outline,  color, 
expression;  heads,  especially  of  women,  have  inimitable  delicacy; 
depicted  suffering  or  fear  without  sacrificing  beauty.)  Cupid. 

213.  Guido  Reni,  [see  No.  212.] — Figure  Studies. 

214.  Guercino. — Death  of  a Saint. 


20 


METROPOLITAN  MUSEUM  OF  ART. 


215.  Guercino. — Studies  of  Man  Reclining. 

210.  Guido  Reni. — Ecce  Homo! 

217.  Guercino. — Peter  Denying  Christ. 

218.  Guercino. — Landscape. 

219.  Guido  Reni. — Venus  and  Adonis. 

220.  Guercino. — Landscape. 

221.  Guercino. — Man  Writing. 

CASE  XII.  BOLOGNESE  SCHOOL,  {continued  from  Case  XI.) 

222.  Francesco  Primaticcio,  (b.  Bologna,  1490,  d.  Paris,  1570; 

studied  under  Imocenzo  da  Imola  [Bolognese,  about  1490-about  1550], 
Bagnacavallo  [see  No.  250],  and  Giulio  Romano  [see  No.  7];  assisted 
the  latter  on  Palace  at  Mantua;  invited  to  France  to  decorate  Palace  of 
Fontainebleau;  succeeded  II  Rosso  [see  No.  113]  there  ; projected  and 
executed  an  immense  series  of  paintings,  destroyed  in  1738; — able  and 
showy,  but  bombastic.)  Design  for  Frieze. 

223.  Pellegrino  Tibaldi,  (painter,  architect;  b.  Bologna,  1527, 

d.  Milan,  1591;  pupil  of  Bagnacavallo  [see  No.  250];  student  of 
Vasari’s  works  [see  No.  580]  and  Michael  Angelo’s  [see  No.  27];  ex- 
tensively employed  at  Rome  by  Cardinal  Poggi ; invited  to  Spain  in  1586; 
succeeded  Federico  Zuccaro  [see  No.  69]  at  the  Escurial; — diligent 
student  of  nature.)  Subject  doubtful. 

224.  Annibale  Caracci,  (b.  Bologna,  1560,  d.  1609;  brother 

of  Agostino  [see  No.  254],  cousin  of  Ludovico  [see  No.  225];  carefully 
trained  by  the  latter;  studied  works  of  all  the  great  masters,  especially 
those  of  Correggio  [see  No.  173]  ; invited  to  decorate  Gallery  of  Farnese 
Palace  at  Rome;  spent  eight  years  there; — active  imagination,  great 
energy,  consummate  mastery  of  technic,  strong  tendency  to  the  grand 
iose,  combined  with  lack  of  mental  refinement  and  knowledge  resulting 
from  dislike  for  literary  study.)  Figure  of  a Man,  from  behind. 
(Drawn  on  translucent  paper;  on  the  reverse  the  front  of  the  same  fig- 
ure is  drawn  by  following  the  lines  of  the  back,  so  that  both  aspects  of 
the  figure  in  the  given  position  are  rendered.) 

225.  Ludovico  Caracci,  (b.  Bologna,  1555,  d.  1619;  educated  in 

school  of  Prospero  Fontana,  [Bolognese,  1512-1597] ; developed  very 
slowly,  through  desire  to  avoid  being  satisfied  with  mere  dexterity  and 
pleasingness;  indefatigable  student  of  nature,  and  of  great  masters  at 
Venice,  Florence  and  Parma;  founded  and  directed  famous  academy 
of  painting  at  Bologna,  in  opposition  to  the  prevalent  careless  manner 
of  the  time;  inaugurated  a new  epoch  of  truthful  and  reflecting  work; 
excellencies  not  obvious  to  chance  observer ; they  comprise  simplicity, 
harmony,  dignity  and  deep  rationality.)  Subject  doubtful. 


CATALOGUE  OF  DRAWINGS. 


21 


226,227,  228.  Pellegrino  Tibaldi,  [see  No.  223.]-Figure  Studies. 

229.  Francesco  Primaticcio,  [see  No,  222.] — Wand-Dance. 

230.  Francesco  Primaticcio. — Subject  Uncertain. 

231.  Domenichino,  [see  No.  209.] — Christ  before  Pilate. 

232.  Ludovico  Caracci  (?),  [see  No.  225.] — Horseman. 

233.  Ludovico  Caracci  (?). — Death  of  Polyxena.  (?) 

234.  Francesco  Primaticcio,  [see  No.  222.] — Birds. 

235.  Annibale  Caracci,  [see  No.  224.] — La  Pieta. 

236.  School  of  the  Caraccis,  [see  Nos.  224,  225,  254.] — Death 

of  Lucretia.  (?) 

237.  School  of  the  Caraccis. — Figures. 

238.  Pocetti.  [see  No.  76.] — The  Muse  of  History. 

239.  Unknown. — Figure  Studies. 

240.  School  OF  the  Caraccis. — Antony  Giving  the  Library  of 

Pergamos  to  Cleopatra. 

241  Unknown,  (16th  century.) — A Burial. 

242.  Michele  Angelo  Colonna,  (b.  near  Ravenna,  1600,  d.  I6S7; 

pupil  of  Gabrielle  Ferrantino  [Bolognese,  flourished  about  1590]  and  of 
I»  Dentone  [Bolognese,  1576-1632];  assisted  the  latter;  invited  to  Mad 
rid  by  Philip  IV.)  Historical  Scene. 

243.  School  of  the  Caraccis. — Figure  Studies. 

244.  Ludovico  Caracci,  [see  No.  225.] — Figure  Studies. 

245.  Giovanni  da  Bologna,  (sculptor;  b.  Douals,  France,  1524, 

d.  1605;  early  settled  in  Italy:  imitated  Michael  Angelo  [see  No.  27.  ]) 

Figure  Studies. 

246.  School  of  the  Caraccis. — Figures. 

247.  School  of  the  Caraccis. — Battle  of  the  Titans. 

248.  Annibale  Caracci,  [see  No  224.1 — Landscape. 

249.  Pellegrino  Tibaldi,  [see  No.  223  ] — Historical  Scene. 

250.  Bartolommeo  Ramenghi  da  Bagnacavallo,  (b.  Bagna- 

cavallo,  1484,  d.  1512;  pupil  of  Francia  [Bolognese,  1450-1517]  and 
probably  of  Raphael  [see  No.  2];  perhaps  assisted  the  latter;  works 
admired  by  the  Caracci.)  St.  Catharine. 

251.  School  of  Domenichino, [see  No.  209.] — Andromache,  Priam 

and  the  Body  of  Hector. 

252.  Giovanni  da  Bologna,  [see  No.  245.] — Figure  Studies. 

2-53.  Unknown. — The  Madonna  and  Child. 


22 


METROPOLITAN  MUSEUM  OF  ART. 


CASE  XIII.  BOLOGNESE  SCHOOL,  {continued from  Case XII.) 

254.  Agostino  Caracci,  (painter,  engraver;  b.  Bologna,  1558,  d. 

Parma,  1601 ; goldsmith;  persuaded  by  cousin  Ludovico  [see  No.  225] 
to  try  painting;  studied  under  Fontana  [Bolognese,  1512-1597]  and 
Passerotti  [Bolognese,  1540  1595];  also  at  Parma  and  Venice  with 
brother  Annibale  [see  No.  224];  assisted  Ludovico  at  Bologna  and 
Annibale  at  Rome;  although  his  literary  culture  was  invaluable  to 
latter’s  work,  yet  they  soon  separated,  Agostino  settling  in  Parma; — 
excellent  engraver;  eminently  an  artist  in  all  he  undertook.)  Study  of 
Nude  Male  Figure,  from  behind. 

255.  Ludovico  Caracci,  [see  No.  225.] — Historical  Scene. 

25G.  Annibale  Caracci,  [see  No.  224.] — Landscape. 

257.  Unknown. — Study  for  Statue  of  Reclining  Figure. 

258.  Pellegrino  Tibaldi,  [see  No.  223.] — Study  of  Nude  Figure. 

259.  Agostino  Caracci,  [see  No.  254.] — St.  Sebastian  (?). 

2G0.  Annibale  Caracci,  [see  No.  224.] — Landscape. 

2G1.  Annibale  Caracci. — Aurora  and  Tithonus. 

262.  School  of  the  Caraccis. — Landscape. 

2G3.  Unknown. — Group  of  Women. 

264.  Giovanni  da  Bologna,  [see  No.  245.] — St.  Sebastian. 

265.  Pellegrino  Tibaldi,  [see  No.  223.] — Sisyphus  and  Tantalus. 

266.  Domenichino,  [see  No.  209.] — Cherubs. 

267.  Domenichino. — Mythological  Scene. 

268.  Annibale  Caracci,  [see  No.  224.] — Saint  in  Ecstasy. 

269.  Unknown. — Girl  with  Book. 

270.  Giovanni  da  Bologna. — Two  Men  Struggling. 

271.  Pellegrino  Tibaldi. — Study  of  Female  Figure. 


CASE  XIV.  BOLOGNESE  SCHOOL,(^/;//«m/ from  Case  XIII) 

272.  Domenichino,  [see  No.  209.] — Landscape. 

273.  Francesco  Albani,  (b.  Bologna,  1578,  d.  1666;  first  under 

Denis  Calvart  [Bolognese,  1555-1619],  then  with  Guido  Reni  [see  No. 
212]  under  Ludovico  Caracci  [see  No.  225] ; assisted  Annibale  Caracci 
[see  No.  224]  at  Rome;  gained  high  reputation;  employed  at  various 
places; — sometimes  called  the  Anacreon  of  painting,  from  choice  of 
subjects;  style  soft  and  pleasing.)  The  Toilet  of  Venus. 

274.  Unknown. — Scene  from  Sacred  History. 


CATALOGUE  OF  DRAWINGS. 


23 


275.  Guido  Reni,  [see  No.  212.] — Group. 

276.  Francesco  Albani,  [see  No.  273.] — Decorative  Group  of 

Children. 

277.  Guido  Reni. — Historical  Scene. 

278.  Guido  Reni. — The  Crucifixion. 

270.  Unknown. — A Miracle. 

280.  Michele  Angelo  Colonna,  [see  No.  242.] — Allegorical 

Figure  with  Wreath. 

281.  Fratta  (?). — Historical  Scene. 

282.  Carlo  Cignani,  (b.  Bologna,  1628,  d.  Forli,  1719;  began 

with  Battista  Cairo;  then  principal  pupil  of  Albani  [see  No.  273]; 
studied  also  at  Rome,  Florence  and  Parma;  founded  Clementine 
Academy  at  Bologna;  excited  much  jealousy  and  mean  hostility;  occu- 
pied nearly  twenty  years  on  dome  at  Forli; — in  conception  far  readier 
than  in  execution ; successful  in  blended  coloring,  in  relief,  and  in  grace 
of  female  figures  ) Man  and  Boys. 

283.  Domenichino,  [see  No.  209.] — A Martyrdom.  (?) 

284.  Guercino,  [see  No.  210.] — Caricatures. 

285.  Fratta  (?),  [see  No.  281.] — Brigands. 

286.  Guido  Reni,  [see  No.  212.] — Children  Playing. 

287.  Guido  Reni. — The  Madonna  and  Child. 

288.  Francesco  Albani,  [see  No.  273.] — Figures,  with  Horse 

and  Sheep. 

289.  290,  291,  292.  Stefano  della  Bella,  (engraver;  b.  Flor- 

ence, 1610,  d.  1664;  goldsmith’s  son;  taught  by  Cantagallina  [Bo- 
lognese, 1582— about  1630],  who  was  also  the  master  of  Callot  [see 
No.  483] ;- admirable  engraver,  clear,  picturesque,  spirited;  accom- 
plishes much  with  little.)  Studies  of  Horses. 

293.  Carlo  Cignani,  [see  No.  282.] — Cardinal  with  Crucifix. 

294.  Unknown. — The  Holy  Family,  Attended  by  Angels. 

295.  Stefano  della  Bella,  [see  No.  289.] — Historical  Scene. 

296.  Unknown. — Cain  and  Abel. 

297.  Guercino,  [see  No.  210  ] — Man  and  Child. 

298.  Serafino  Brizzi,  (b.  Bologna,  1684,  d.  1737;  eminent  painter 

of  court  festivals.)  A Martyrdom. 


24 


METROPOLITAN  MUSEUM  OF  ART. 


CASE  XV.  BOLOGNESE  SCHOOL,  ( continued  from  Case  XIV.) 

299.  Giovanni  Battista  Discepoli,  called  II  Zoppo  dt  Lugano, 

“the  cripple  of  Lugano,”  (b.  Lugano,  1590,  d.  1660;  pupil  of  Camillo 
Procaccini  [Bolognese,  1546-1626] good  colorist.)  Joseph  Sold  by 

his  Brothers. 

300.  Michele  Angelo  Colonna,  [see  No.  280.] — Angels  in  the 

Clouds, — a Ceiling  Design. 

301.  Stefano  della  Bella,  [see  No.  289.] — Studies  of  Horses. 

302.  Guercino,  [see  No.  210.] — Woman  and  Child. 

303.  Unknown. — Mother  and  Child. 

304.  Michele  Angelo  Colonna. — Decorative  Group. 

305.  Unknown. — Ruins. 

306.  Buonsignori  (?). — Lot  and  his  Daughters. 

307.  Elisabetta  Sirani,  (b.  Bologna,  1638,  poisoned,  1664; 

taught  by  father,  Giovanni  Andrea  Sirani  [Bolognese,  1610-1670]; 
imitated  Guido  Reni  [see  No.  212]  with  success;  left  many  large  works 
all  carefully  finished; — refined  and  accurate  in  design,  elegant  in  color; 
like  Guido,  most  successful  with  Madonnas  and  Magdalens.)  The 
Holy  Family. 

308.  Carlo  Cignani,  [see  No.  282.] — Madonna  and  Child. 

309.  Ubaldo  Gandolfi,  (b.  Bologna,  1728,  d.  1781;  pupil  of 

F.  Torelli  [Veronese,  1667-1748],  Graziani  [Bolognese,  1688-1765], 
and  E.  Lelli  [Bolognese,  about  1700-1766]  ; — distinguished  for  academi- 
cal designs.)^  Study  of  Nude  Figures. 

310.  Michele  Angelo  Colonna. — Studies  of  Angels  on  Clouds. 

311.  Guido  Reni,  [see  No.  212.] — The  Madonna  and  Child. 

312.  Ubaldo  Gandolfi,  [see  No.  309.] — Study  of  Nude  Figure. 

CASE  XVI.  NEAPOLITAN  SCHOOL. 

313.  Michele  Amerigi  Angelo  da  Caravaggio,  (b.  Caravaggio, 

in  the  Milanese,  1569,  d.  Rome,  1609;  mason’s  son;  thus  brought  in 
contact  with  fresco  painters ; inspired  to  study  nature  by  himself ; style 
formed  without  instruction;  visited  Venice  and  studied  Giorgione  [see 
No.  352];  settled  in  Rome;  inaugurated  new  and  very  popular  style; — 
extremely  realistic  in  expression;  lights  and  shades  distributed  in  extra- 
ordinary manner;  very  able,  but  extravagant  and  ungraceful.)  Youth 
Reading. 

314.  Josef  Ribera,  called  Lo  Spagnoletto,  “the  fine  little 

Spaniard,”  (b.  Xativa,  Spain,  1589,  d.  Naples,  1656;  studied  first 
under  Francisco  Ribalta  [Spanish,  1551-1628],  then  in  Naples 
under  M.  A.  Caravaggio  [see  No.  313];  also  at  Parma  and 


CATALOGUE  OF  DRAWINGS. 


Rome; — imitated  Caravaggio’s  bold  style;  chose  harsh,  terrible  or  dis- 
agreeable subjects,  which  were  delineated  with  extreme  fidelity;  good 
portrait-painter.)  Dying  Saint. 

315.  Lo  Spagnoletto. — Death  of  St.  Jerome. 

316.  Lo  Spagnoletto. — Study  of  Man’s  Head. 

317.  Lo  Spagnoletto. — St.  John  Chrysostom.  ? 

318.  Lo  Spagnoletto. — Death  of  a Saint. 

319.  Lo  Spagnoletto. — Figures. 

320.  Lo  Spagnoletto. — Lion  and  Slave. 

321.  Salvator  Rosa,  (painter,  poet,  actor;  b.  near  Naples,  1615, 

d.  Rome,  1673;  taught  by  T.  Francazone,  his  brother-in-law,  by  Lan- 
franco  [see  No.  95], who  generously  assisted  his  poverty,  by  A.  Falcone 
[Neapolitan,  1600-1665],  and  by  Lo  Spagnoletto  [see  No.  314]; — facile 
and  original;  as  a landscapist,  chose  deserts  and  gloomy  solitudes; 
good  portrait-painter.)  Subject  doubtful. 

322.  School  of  Lo  Spagnoletto,  [see  No.  314.] — In  the  Garden 

of  Gethsemane. 

323.  324,  326,  328,  333.  Salvator  Rosa,  [see  No.  321.] — 

Landscapes. 

325.  Salvator  Rosa. — The  Sacrifice  of  Isaac. 

327.  Salvator  Rosa. — Mercury  and  Argus.  (?) 

329.  School  of  Salvator  Rosa. — Landscape. 

330.  Salvator  Rosa. — Man  with  Jug. 

331.  Unknown. — The  Sacrifice  of  Abel. 

332.  Salvator  Rosa. — Cavalry  Battle. 

334.  Fedele  Fischetti,  (?). — Historical  Scene. 

335.  Salvator  Rosa. — Study  of  an  Actor. 

336.  Unknown. — Cavalry  Charge 

337.  Salvator  Rosa. — Study  of  Cattle. 

CASE  XVII.  VENETIAN  SCHOOL. 

338.  Jacopo  Palma,  called  II  Vecchio,  “the  Elder,”  (b.  Seri- 

nalta,  1480,  d.  1528;  study  of  Giorgione’s  works  [see  No.  352]  released 
him  from  stiffness  of  Giovanni  Bellini  [Venetian,  1422-1512],  and 
gave  something  of  Titian’s  richness  of  color; — attended  more  to  finish 
than  to  design.)  Symbolic  Figure  with  Spear  and  Helmet. 

339.  Tiziano  Vecelli  da  Cadore,  (b.  Cadore,  1477,  d.  Venice, 

1576;  taught  by  Sebastiano  Zuccati  [Venetian,  flourished  about  1490]. 


26 


METROPOLITAN  MUSEUM  OF  ART. 


Gentile  Bellini  [Venetian,  1421-1501]  and  Giovanni  Bellini  [Venetian, 
1422-1512]  ; first  developed  under  influence  of  Giorgione  [see  No.  352], 
whom  he  succeeded ; early  popular  in  Italy  and  Spain; — the  prince  of 
colorists;  not  remarkable  in  design  or  drawing;  excellent  portrait- 
painter  and  landscapist.)  Man  and  Woman. 

340.  Palma  il  Vecchio,  [see  No.  338.] — Symbolic  Figure. 

341.  Palma  il  Vecchio. — Bishop  and  Two  Saints. 

342.  Polidoro,  called  Veneziano,  (b.  Venice,  1515,  d 1565;  full 

name  unknown;  pupil  and  imitator  of  Titian  [see  No.  339]; — of  mod- 
erate ability.)  Roman  Galleys. 

343.  Palma  il  Vecchio. — Juno.  (?) 

344.  Domenico  Campagnola,  (painter,  engraver;  flourished  at 

Venice  1520-1540;  pupil  of  Titian  [see  No.  339]; — surpassed  him  in 
some  points;  excelled  in  delineation  of  the  nude  and  in  landscape.) 
Landscape,  looking  Seaward. 

345.  School  of  Titian,  [see  No.  339.] — Landscape. 

346.  Titian. — Portrait. 

347.  Niccola  Graffi,  (?). — Victims  of  the  Plague. 

348.  Andrea  Schiavone,  called  II  Medula,  “the  faulty,”  (b. 

Sebenico,  Dalmatia,  1522,  d.  Venice,  1582;  hampered  by  poverty; 
practised  alone  from  prints  of  Parmegiano  [see  No.  171],  and  worked 
as  house-painter;  attracted  Titian’s  notice  [see  No.  339]  and  was  taken 
into  his  school;  became  an  assistant  of  Titian; — very  deficient  in 
drawing,  but  an  excellent  colorist.)  The  Garden  of  Eden. 

349.  School  of  Titian,  [see  No.  339.] — Sleeping  Figures. 

350.  Paolo  Cagliari,  called  Paolo  Veronese,  (b.  Verona,  1532, 

d.  1588;  sculptor’s  son;  studied  with  uncle  Antonio  Badile  [Veronese, 
1480-1560] ; early  famous  at  home;  successful  in  competition  at  Venice; 
— liked  scenes  of  regal  luxury  where  magnificence  of  costume  and  ac- 
cessories was  displayed ; elegant  colorist.)  The  Sword  of  Damocles. 

CASE  XVIII.  VENETIAN  SCHOOL,  {continued from  Case XVII.) 

351.  Titian,  [see  No.  339.] — Trees. 

352.  Giorgio  Barbarelli,  called  Giorgione,  “the  big  George,” 

(b.  Castelfranco,  1477,  d.  1511;  pupil  of  Giovanni  Bellini  [Venetian, 
1422-1512];  comrade  of  Titian  [see  No.  339];  studied  Leonardo’s  works 
[see  No.  174]; — the  first  to  abandon  the  strict  style  of  Bellini  for  free 
and  bold  design  and  rich  color;  dignified,  broad,  harmonious;  first- 
rate  portrait-painter.)  Landscape. 

353.  Palma  il  Vecchio,  [see  No.  338.] — Death  of  a Saint. 

354  Polidoro,  [see  No.  342  ] — Roman  Procession. 


CATALOGUE  OF  DRAWINGS. 


27 


355.  Titian,  [see  No.  339.] — Woodland  Scene. 

356.  Polidoro. — Soldiers  Carrying  Urns. 

357.  Paolo  Veronese,  [see  No.  350.] — The  Finding  of  Moses. 

358.  School  of  Titian. — Saint  Adoring  the  Madonna  and  Child. 

359.  362.  Titian. — Landscapes. 

360.  Unknown,  (after  Titian  ] — Landscape. 

361.  Giorgione,  [see  No.  352.] — River-View. 

363.  Titian. — The  Entombment  of  Christ. 

364.  School  of  Titian. — Two  Figures. 

365.  Titian. — Figures. 

366.  TITIAN,  or  his  School. — Child  Surrounded  by  Figures. 

367.  Titian. — Saint  Reading. 

368.  School  of  Titian. — Studies  of  Man  in  Toga. 

369.  Titian. — Landscape. 

370.  Paolo  Veronese,  [see  No.  350.] — Studies  of  Heads. 

371.  School  of  Titian. — The  Holy  Family. 

372.  Paolo  Veronese.— Martyrdom  of  a Saint. 

373.  Paolo  Veronese. — A Music-Lesson. 


CASE  XIX.  VENETIAN  SCHOOL,  {continued from  Case  XVI [I) 

374.  Giacomo  Robusti,  called  Tl  Tintoretto,  “ the  little  dyer," 

(b.  Venice,  1512,  d.  1594;  pupil  of  Titian  [see  No  339]  for  a short 
time;  founded  an  academy  and  endeavored  to  inaugurate  anew  style, — 
combining  coloring  of  Venetians  with  grand  design  of  Florentines; 
extraordinarily  versatile  and  rapid;  even  extravagant  and  careless; 
original  and  powerful.)  The  Sacrifice  of  Noah. 

375.  Paolo  Veronese,  [see  No.  350.] — Washing  Christ’s  Feet. 

3T6.  Giovanni  Battista  Tiepolo,  (b.  Venice,  1693,  d.  Madrid, 
1770;  pupil  of  Lazzarini  [Venetian,  1654-1730]  ; first  imitated  G.  B.  Pia 
zetta  [Venetian,  1633  1754] ; then  studied  Paul  Veronese  [see  No.  350] ; 
— extravagant,  impetuous,  ready;  most  successful  in  very  extended 

work.)  Design  for  Ceiling. 

377.  Tiepolo. — Figures. 

378.  382.  Tiepolo. — Designs  for  Ceilings. 

379.  Il  Tintoretto,  [see  No.  374.] — Washing  Christ’s  Feat. 

380.  Tiepolo. — Head  of  a Saint. 


28 


METROPOLITAN  MUSEUM  OF  ART. 


381.  Tiepolo. — Prison  Scene. 

383.  Il  Tintoretto. — Christ  Bearing  the  Cross. 

384.  Il  Tintoretto. — Monk  Reading. 

385.  Il  Tintoretto. — Bishop  with  Book. 

386.  Jacopo  Palma,  called  II  Giovane,  ‘‘the  Younger,”  (b. 

Venice,  1544,  d.  1628;  educated  himself  from  works  of  Tintoretto  and 
Titian  [see  No.  339]  ; attracted  notice  of  wealthy  noble;  sent  by  him  to 
Rome;  returning  to  Venice  became  very  popular  and  famous; — ready 
and  daring,  often  incorrect;  coloring  fresh  and  tender.)  St.  Jerome. 

387.  Palma  il  Giovane. — St.  Anthony. 

CASE  XX.  VENETIAN  SCHOOL,  {continued  from  Case  XIX.) 

388.  Il  Tintoretto,  [see  No.  374.] — The  Writing  on  the  Wall. 

389.  Il  Tintoretto. — Susannah  and  the  Elders. 

390.  Il  Tintoretto. — Angels  and  Cherubs. 

391.  Il  Tintoretto. — Historical  Scene. 

392.  Il  Tintoretto. — Mary  Magdalene  and  Christ. 

393.  Il  Tintoretto. — Raising  of  Jairus’s  Daughter. 

394.  Il  Tintoretto. — The  Scourging  of  Christ. 

395.  Paolo  Veronese  (?),  [see  No.  350.] — An  Execution. 

396.  Unknown. — An  Angel. 

397.  Giulio  Carpioni,  (b.  Venice,  1611,  d.  1674;  pupil  of  II 

Paduanino  [Venetian,  1590-1650],  follower  of  Paul  Veronese  [see  No. 
350]; — excelled  in  historical  scenes,  in  bacchanals  and  in  small  sacred 
subjects.)  The  Coronation  of  the  Virgin. 

398.  Gasparo  Diziani,  (b.  Belluno,  d.  1667;  studied  with  Sebas- 

tiano  Ricci  [Venetian,  1659-1734] , famous  for  theatrical  pictures  and 
decorations;  extensively  employed  in  Germany  and  Italy.)  Design 

for  Altar-Piece. 

399.  Tiepolo,  [see  No.  376.] — Subject  doubtful. 

400.  Unknown. — The  Madonna  and  Child  Adored  by  Two  Saints. 

401.  School  of  Titian,  [see  No.  339.] — Martyr  Bound  to  the 

Stake. 

402.  Carlo  Veronese  (?). — Bacchanals. 

403.  Francesco  Guardi,  (b.  Venice,  1712,  d.  1793;  pupil  of 

Canaletto  [Venetian,  1697-1768];  painter  of  architectural  views  in 
Venice; — surpassed  his  master.)  Venetian  Scene. 

404.  Unknown. — Pope  Alexander  III.  and  the  Emperor  Frederick 

Barbarossa. 


CATALOGUE  OF  DRAWINGS. 


29 


CASE  XXI.  DUTCH  AND  FLEMISH  SCHOOLS. 

405-410,  412.  Lucas  Jacobs,  called  Lucas  van  Leyden  (?), 
(painter,  engraver;  b.  Leyden,  1494,  d.  1533;  son  of  obscure  painter; 
taught  by  his  father  and  by  C.  Engelbrechtsen  [Dutch,  1468-1533]; 
remarkably  precocious ; intimate  friend  of  Durer  [see  No.  446]; — called 
the  “patriarch”  of  the  Dutch  school;  adhered  to  the  stiff,  Gothic 
style;  eminent  in  composition  and  color;  very  distinguished  engraver, 
ranking  with  Durer  and  Raimondi  [see  No.  11.])  The  Story  of 
Queen  Esther,  in  seven  scenes. 

411  Rembrandt  Gf.rretz,  called  van  Rhyn,  (painter,  engraver; 
b.  near  Leyden,  1606,  d.  Amsterdam,  1674;  pupil  of  Jacob  van  Zwaan- 
enberg;  1630,  settled  in  Amsterdam;  indefatigable  student  of  peasants, 
servants,  and  the  lower  classes  everywhere; — the  master  of  chiaroscuro; 
faithful  in  design,  harmonious  in  color,  vivacious,  forcible;  a first -rate 
portrait-painter  and  engraver.)  Two  Men. 

413.  Sir  Anthony  Vandyck,  (b.  Antwerp,  1599,  d.  Blackfriars, 
London,  1641;  son  of  a painter  on  glass;  pupil  of  Henry  van  Balen 
[Flemish,  1560-1632],  and  of  Rubens  [see  No.  431] ; advised  by  the 
latter  to  keep  solely  to  portraiture;  in  1619,  visited  Venice,  Genoa, 
Rome,  Palermo;  disturbed  by  hostility  at  home,  went  to  England  in 
1629  and  again  in  1631 ; knighted  in  1632;  became  immediately  popular; 
— charming  and  well-balanced  in  composition  and  color ; one  of  the  best 
of  portrait-painters;  very  rapid  in  execution.)  The  Madonna  and 
Child  Surrounded  by  Cherubs. 

414  Rembrandt  van  Rhyn,  [see  No.  411.] — Figure  of  a Man. 

415.  Rembrandt  van  Rhyn. — Adoration  of  the  Magi. 

416.  Rembrandt  van  Rhyn. — Man  Writing. 

417.  David  Teniers,  called  the  Elder,  (b.  Antwerp,  1582, 

d.  1649;  studied  under  Rubens  [see  No.  431]  and  at  Rome  under 
Elsheimer  [German-Italian,  1574-1620] ; — inclined  to  humorous  sub- 
jects; unfortunately  overshadowed  by  his  son.)  Subject  doubtful. 

418.  Rembrandt  van  Rhyn. — Landscape  and  Tower. 

419.  Adrian  van  Ostade,  (painter,  engraver;  b.  Lubeck,  1610, 

d.  Amsterdam,  1685;  a pupil  of  Francis  Hals  [Dutch,  1584-1666]; — 
represented  scenes  in  low  life  with  great  truth  and  force.)  The  Itin- 
erant Fiddler.  (Signed  and  dated  1673.) 

CASE  XXII.  DUTCH  AND  FLEMISH  SCHOOLS,  [continued 
from  Case  XXI.) 

420.  Paul  Bril,  (b.  Antwerp,  1554,  d.  Rome,  1626;  began  with 

an  obscure  artist,  but  soon  set  out  for  Rome  to  study  under  his  brother 
Matthew  [Dutch-Italian,  1550-1584];  succeeded  him  at  the  Vatican; 
studied  Titian’s  landscapes  [see  No.  339.]  ) Landscape. 


30 


METROPOLITAN  MUSEUM  OF  ART. 


421.  Jacob  Ruysdael,  (b.  Haarlem,  1630,  d.  1681;  learned  with- 

out a master;  encouraged  by  Berghem  [Dutch,  1624-1683];  devoted 
himself  to  scenery  near  Haarlem  and  on  the  Rhine; — designed  from 
nature  with  great  success.)  River  Scene. 

422.  Rembrandt  van  Rhyn,  [see  No.  411.] — Wayside  Inn. 

423.  David  Teniers,  called  the  Younger,  (b.  Antwerp,  1610, 

d.  Brussels,  1694;  studied  with  his  father  [see  No.  417],  Adrian  Brower 
[Dutch,  1G08-1640],  and  Rubens  [see  No.  431];  court-painter  to  Arch- 
duke Leopold ; — like  his  father,  worked  upon  rural  themes,  but  with  far 
greater  spirit  and  skill;  a wonderful  imitator.)  Studies  of  Peasants. 

424.  Anton  Frans  Boudewyns,  (about  1700.) — Peasants. 

425.  Unknown. — A Fight. 

426.  Francis  Pourbus,  called  the  Younger,  (b.  Antwerp,  1570, 

d.  Paris,  1622 ; son  of  F.  Pourbus,  the  Elder  [Flemish,  1540-1580] ; 
started  for  Italy,  but  settled  in  Paris  on  the  way,  and  became  a 
prominent  portrait-painter.)  Portrait. 

427.  Vandyck,  [see  No.  413.] — Mary  and  the  Dead  Christ. 

428.  Unknown. — Historical  Scene. 

429.  Unknown. — Cavalry. 

430.  Unknown. — Cattle. 

431.  Peter  Paul  Rubens,  (b.  Cologne,  1577,  d.  1640;  pupil  of 

Tobias  Verhaecht  [Dutch,  1566-1631],  Adam  van  Oort  [Dutch,  1557- 
1641],  and  Otho  Venius  [Dutch,  1556-1634];  received  also  a good 
general  education;  visited  Italy  for  study;  became  attached  to  court  of 
Mantua;  1605,  sent  as  envoy  to  Spain;  1608,  returned  to  Antwerp; 
established  school  of  painting;  1620-30,  traveled  in  France,  Spain  and 
England  as  artist  and  embassador; — very  prolific,  magnificent  and 
varied;  brilliant  colorist;  bold  and  vigorous  designer.)  Figures. 

432.  Rubens. — Portrait  of  Himself. 

433.  Rubens. — Study  of  Dogs. 

434.  RUBENS. — Man  and  Woman. 

435.  Vandyck,  [see  No.  413.] — The  Madonna  and  Child,  with 

Cherubs. 

436.  Vandyck. — Saint  in  Ecstasy. 

437.  Unknown. — Portrait. 

438.  439.  Rembrandt  van  Rhyn,  [see  No.  411.] — Buildings. 

440.  Rembrandt  van  Rhyn. — Interior. 

441,  442.  David  Teniers,  the  Elder,  [see  No.  417.] — Scenes  at 

a Fair. 


CATALOGUE  OF  DRAWINGS. 


31 


443.  Vandyck,  [see  No.  413.] — Selene  and  Endymion. 

444.  Unknown. — A Martyrdom. 

445.  Unknown,  (Flemish  School.) — Decorative  Group. 

CASE  XXIII.  GERMAN  AND  SPANISH  SCHOOLS. 

446.  Albrecht  Durer,  (painter,  engraver;  b.  Nuremburg,  1471, 

d.  1528;  goldsmith’s  son;  taught  by  Wohlgemuth  [German,  1434-1519J; 
— hampered  by  conventional  style  of  his  time  and  country,  but  made 
great  advances  upon  his  predecessors  in  composition,  design  and  color- 
ing; preeminent  in  technique  of  engraving.)  Study  for  Engraving 
of  the  Knight. 

447.  Jonas  Umbach,  the  Younger,  (?). — A Large  Building.  (Signed 

and  dated  1747.) 

448.  Unknown. — The  Death  of  Socrates. 

449.  Johann  Georg  Wagner,  (b.  Dresden,  1732,  d.  1767;  pupil 

of  Dietrich  [German,  1712-1774] ; — a charming  landscapist.)  Cascade. 

450.  Unknown. — River  Landscape. 

451.  Unknown. — Subject  doubtful. 

452.  Lucas  Sunder,  called  Lucas  Cranach,  (painter,  engraver; 

b.  Cranach,  1470,  d.  1553;  court-painter  of  Saxony; — adhered  to  the  stiff 
style  prevalent  before  Durer’s  reformation  [see  No.  446.] ) Christ 
Proclaimed  King. 

453.  Albrecht  Durer  (?),  [see  No.  446.] — A Head. 

454.  Martin  Schoen  or  Schongauer,  (painter,  engraver;  lived 

in  the  15th  century;  his  biography  is  in  dispute; — one  of  the  earliest 
engravers  on  copper  ) Historical  Scene. 


455.  Bartolom^  Esteban  Murillo,  (b.  Seville,  1618,  d.  1685; 

studied  under  Juan  del  Castillo  [Spanish,  1584-1640],  and  under  Velas- 
quez [see  No.  459J ; never  left  Spain,  but  by  studying  at  Madrid  and  by 
observation,  developed  a refined  and  original  style  having  both  natural- 
ness and  beauty.)  Studies  for  a Madonna. 

456.  458.  Unknown, (Spanish, 17th  century.) — Decorative  Designs. 

457.  Francisco  Zurbaran,  (b.  near  Seville,  1598,  d.  1662;  pupil 

of  Juan  de  las  Roelas  [Spanish,  1560-1625];  called  the  Caravaggio  of 
Spain  [see  No.  313];  court-painter; — particularly  successful  as  painter 
of  monks;  in  the  first  rank  of  the  Spanish  school.)  A Death-Scene. 

459.  Don  Diego  Velasquez  de  Silva,  (b.  Seville,  1599,  d.  1660; 
taught  by  Francisco  Herrera  [Spanish,  1576-1656]  and  by  Pacheco 
[see  No.  465];  1622,  to  Madrid;  after  painting  the  King’s  portrait, 


32 


METROPOLITAN  MUSEUM  OF  ART. 


became  court-painter;  1629,  to  Italy  for  study;  again  in  1648,  in  pur- 
suit of  collections  for  the  King; — the  best  of  Spanish  painters;  pecu- 
liarly prosperous  throughout  his  life.)  Figure  of  a Girl. 

460.  Velasquez. — Mother  and  Baby. 

461.  Francisco  Zurbaran,  [see  No.  457.] — St.  Adrian.  (Signed.) 

CASE  XXIV.  SPANISH  SCHOOL,  (continued from  Case  XXIII.) 

462.  Velasquez,  [see  No.  459.] — Cavalry  Battle. 

463.  Domenico  Teoscopoli,  called  il  Greco,  (b.  Greece,  1548, 

d.  Madrid,  1625;  a close  follower  of  Titian  [see  No.  339]; — without 
much  originality.)  Man  Kneeling. 

464.  Claudio  Coello,  (b.  Madrid,  d.  1693;  pupil  of  Rizi  [Span- 

ish, 1608-1685];  careful  student  of  Italian  works;  never  left  Spain,  but 
became  very  famous  there.)  A Baptism. 

465.  Francisco  Pacheco,  (painter,  author;  b.  Seville,  1571,  d. 

1654;  studied  under  Luis  Fernandez  [Spanish,  1594-1654];  head  of  an 
excellent  academy;  censor  of  pictures  under  the  Inquisition; — learned 
rather  than  talented.)  A Martyrdom. 

466.  Unknown. — The  Madonna,  Child  and  St.  John. 

467.  Velasquez,  [see  No.  459. J — Figures. 

468.  Velasquez. — Curtius  Riding  into  the  Chasm. 

469.  Murillo,  [see  No.  455.] — Coronation  of  a Saint. 

470.  Murillo. — A Saint,  with  Angels. 

471.  Murillo. — Death  of  a Saint. 

472.  School  of  Murillo. — Child  and  Angel. 

473.  Francisco  Zurbaran,  (see  No.  457.) — Composition  for 

Altar-piece. 

474.  Velasquez. — Man  Praying. 

475.  School  of  Murillo. — The  Madonna  and  Child. 

476.  Velasquez. — Portrait. 

477.  VELASQUEZ. — The  Infanta  on  Horseback. 

478.  Unknown. — Monk,  with  Angel  and  Picture. 

479.  Murillo. — Figures. 

CASE  XXV.  FRENCH  SCHOOL. 

480.  Jean  Jouvenet,  (b.  Rouen,  1644,  d.  1717;  instructed  by  his 

father  and  by  Toussin  [see  No.  481];  1665,  academician;  very  popular; 
losing  use  of  his  right  hand,  continued  with  left.)  Historical  Scene. 


CATALOGUE  OF  DRAWINGS. 


83 


481.  Nicholas  Poussin,  (b.  Audely,  1594,  d.  Rome,  1665;  well 

educated  by  his  father;  pupil  of  Quintin  Varin;  1612,  to  Paris,  but 
found  no  desirable  teacher;  1624,  to  Rome;  after  much  hardship, 
gained  recognition;  1639,  returned;  1642,  escaped  from  quarrels  of  the 
court  to  Rome;  remained  there  till  his  death; — represented  poetical 
subjects  with  success ; his  constant  study  of  the  antique  led  to  simplicity 
and  distinctness.)  Sacrificial  Procession. 

482.  Francois  Clouet  Janet,  (b.  Tours,  1500,  d.  Paris,  1574; 

pupil  of  his  father  and  of  Holbein;  court-painter  and  valet  to  several 
kings,  from  1541  to  1574.)  A Girl’s  Head. 

483.  Jacques  Callot,  (engraver;  b.  Nancy,  1593,  d.  1635;  early 

in  Italy;  pupil  of  Cantagallina  [Florentine,  1530 — about  1630],  Giulio 
Parigi  [Florentine,  d 1635],  and  P.  Thomassin  [French-Roman,  1536- 
after  1613]; — very  spirited  and  original;  his  small  drawings  are  much 
admired.)  Horsemen  and  Dogs. 

484.  Callot. — The  Rape  of  the  Sabines.  (?) 

485.  Jacopo  Cortese,  called  II  Borgognone,  “the  Burgundian,” 

(b.  St.  Hippolyte,  1621,  d.  Rome,  1676;  son  of  obscure  artist;  entered 
the  army  and  sketched  army  scenes;  1639,  to  Bologna  and  Rome; — 
a great  battle-painter,  spirited  and  masterly.)  Cavalry  Battle. 

486.  Marie  Louise  Elizabette  LeBrun,  (b.  1755,  d.  1842;  pupil 

of  Davesne,  Briard  [French,  d.  1777],  and  Jos.  Vernet  [French,  1714- 
1789];  traveled  throughout  Europe;  painted  portraits,  semi-allegorical 
subjects,  and  landscapes.)  Portrait  of  a Lady. 

487.  Callot. — Figures. 

488.  Callot. — Cavalry  Skirmish. 

489.  Eustace  Le  Sueur,  (b.  Paris,  1617,  d.  1655;  sculptor’s  son; 

pupil  of  Vouet  [French,  1582-1641]  ; an  imitator  of  Raphael  [see  No.  2] ; 
1640,  academician; — simple  and  strong,  but  very  unequal.)  Healing 
the  Sick. 

490.  Claude  Gelee,  called  Claude  Lorraine,  (b.  Chamagne, 

1600,  d.  Rome,  1682;  very  poor  in  youth;  early  to  Rome  and  Naples; 
pupil  of  Godfrey  Waal  at  Naples  and  of  Agostino  Tassi  at  Rome  [Ro- 
man, 1566-1642];  traveled  in  northern  Italy  and  France;  suffered  re- 
peated disasters;  reputation  finally  established; — careful  student  of 
nature;  one  of  the  great  landscapists.)  River  Scene. 

CASE  XXVI.  FRENCH  SCHOOL,  [continued  from  Case  XXV.) 

491.  Il  Borgognone,  [see  No.  485.] — A Soldier. 

492.  Callot,  [see  No.  483.] — Horsemen  and  Archers. 

493.  Il  Borgognone. — Horsemen  Fighting. 


METROPOLITAN  MUSEUM  OF  ART. 


34 

494.  Claude  Lorraine,  [see  No.  490.] — House  and  Trees. 

495.  Il  BORGOGNONE. — Cavalry  Charge. 

496.  Nicholas  Poussin,  [see  No.  481.] — Man’s  Head. 

497.  Callot.— A Boar-Hunt. 

498.  Callot. — Woman  and  Child. 

499.  Callot. — Caricature  of  Spaniard. 

500.  Claude  Lorraine. — Landscape,  with  Ruined  Tower. 
501,502.  Claude  Lorraine. — Studies  of  Trees. 

503.  Callot. — Athletes. 

504.  School  of  Boucher,  [see  No.  511.] — Allegorical  Composi- 

tion. 

505.  Callot. — Figures. 

506.  Callot. — Study  of  a Horse. 

507.  Callot. — Soldiers  and  Prisoner. 

508.  Claude  Lorraine. — Harbor  Scene. 

509.  Pierre  Subleyras,  l>.  Us^s,  1699,  d.  Rome,  1749;  taught 

by  his  father,  by  Antoine  Rivalz  [French,  1667-1735],  and  at  the  Acad- 
emy; 1726,  Grand  Prize;  went  to  Rome,  becoming  eminent  in 
portraiture; — escaped  the  false  tendencies  of  the  time;  possessed  great 
fidelity  and  naturalness.)  Mary  and  Elizabeth. 

510.  Claude  Lorraine,  [see  No.  490.] — Coast  Scene. 

511.  Franqois  Boucher,  (painter,  engraver;  b.  Paris,  1704,  d. 

1768;  pupil  of  Francois  le  Moine  [French,  1688-1737];  very  popular; 
masterly  only  in  execution.)  The  Fall  of  Phaeton. 

512.  Callot,  [see  No.  483.] — Study  of  Horse. 

513.  Callot. — Horses’  Heads. 

514.  Callot. — Fencers. 

515.  Nicholas  Poussin,  [see  No.  481.] — Historical  Scene. 

516.  Antoine  Watteau,  (b.  Valenciennes,  1684,  d.  1721;  long 

unable  to  have  a master;  finally  befriended  by  a humble  engraver;  tried 
historical  painting;  studied  at  the  Academy;  developed  an  original 
style; — chose  social,  pastoral  and  military  subjects,  giving  each  a 
peculiar  piquancy  and  character.)  Cottage  and  Garden. 

517.  UNKNOWN. — Woodland  Landscape. 

518.  Callot. — Soldiers. 

519.  Fransois  Boucher,  [see  No.  511.] — Cupids. 

520.  Antoine  Watteau,  [see  No.  516.] — Rural  Cottage. 


CATALOGUE  OF  DRAWINGS. 


35 


•521.  Antoine  Watteau. — Lady  and  Children. 

522.  Antoine  Watteau. — Domestic  Scene. 

523.  Jean  Baptiste  Greuze,  (b.  Tournus,  1726,  d.  Paris,  1805; 

pupil  of  Grandon;  painted  fancy  subjects,  particularly  heads  of  young 
girls  ;--coloring  exquisite.)  Christ  Carrying  the  Cross. 

524.  525.  Jean  Michel  Moreau,  (engraver;  b.  Paris,  1741,  d. 

1814;  1781,  academician;  employed  as  illustrator.)  Rustic  Scenes. 

CASE  XXVII.  ARCHITECTURAL  AND  DECORATIVE 

DESIGNS. 

526.  Roman  School,  (16th  or  17th  century.) — Facade. 

527.  School  of  Michael  Angelo,  [see  No.  27.] — Ceiling. 

528.  Unknown. — Porte  Cochere. 

529.  Roman  School,  (17th  century.) — Arched  Gateway. 

530.  Roman  School,  (16th  century.) — Wall,  with  Statues. 

531.  Roman  School,  (16th  century.) — Ceiling. 

532.  536.  540.  Daniele  da  Volterra,  [see  No.  89.] — Friezes. 

533.  Roman  School,  (16th  century.) — Archway. 

534.  Unknown. — Wall  Decoration. 

535.  Cherubino  Alberti,  (painter,  engraver;  b.  Borgo  S.Sepolcro, 

1552,  d.  Rome,  1615;  pupil  of  his  father  Michele  [Roman,  b.  1527]; 
historical  painter; — an  excellent  engraver.)  An  Etruscan  Antique. 

537.  Cavalier e G.  P.  Pannini,  [see  No.  120.] — Ruins  at  Rome. 

538.  Roman  School,  (16th  century.) — Frieze. 

539.  Antonio  Sangallo,  (architect;  b.  Mugello,  near  Florence, 

1482,  d.Terni.  1546;  pupil  of  his  uncle  Giulio  [1443-1517]  and  An- 
tonio [about  1450-1534],  and  of  Bramante  [1450  1514] ; in  1536,  became 
architect  of  St.  Peter’s;  was  extensively  employed.)  Ornament.- 

541.  Daniele  da  Volterra,  [see  No.  89.] — Details. 

542,  543.  Daniele  da  Volterra. — Frieze,  and  Section  of  Wall. 

544.  Cherubino  Alberti,  [see  No.  535.] — Arch'of  Constantine. 

545,  546.  Giovanni  da  Udine,  (b.  Udine,  1489,  d.  Rome,  1561; 

pupil  of  Giorgione  [see  No.  352]  and  Raphael  [see  No.  2] ; assisted  the 
latter  upon  accessories ; famous  for  arabesques  and  grotesques  and  for 
perfect  imitations  of  animals  and  furniture.)  Wall-Decorations. 

547,  553.  Giovanni  da  Udine. — Details. 

548.  Roman  School,  (17th  century.) — Armor. 


36 


METROPOLITAN  MUSEUM  OF  ART. 


549.  Roman  School,  (17th  century.) — Court-yard. 

550.  Andrea  Pozzo,  [see  No.  100.] — Ceiling. 

551.  Cavalier e G.  L.  Bernini,  [see  No.  92.] — Altar. 

552.  Giovanni'DA  Udine. — Wall-Decoration. 

554.  Cavalier e G.  L.  Bernini. — Fountain. 

555.  Roman  School,  [17th  century.] — Tablet. 

556.  Daniele  da  Volterra. — Details. 

557.  Cherubino  Alberti,  [see  No.  535.] — Ceiling. 

558.  559.  Daniele  da  Volterra. — Wall  and  Ceiling’Decoration. 

560.  Cavaliere  G.  L.  Bernini. — Stairway. 

561.  Filippo  Brunelleschi  (?),  (architect;  b.  Florence,  1377, *d. 

1444;  the  first  to  revive  the  theory  of  perspective  and  [to^employ  the 
three  Grecian  orders ; began  the  Renaissance  of  architecture.)  ^Studies 
for  External  Walls. 

562.  563.  Michael  Angelo. — Details. 

564.  Antonio  Sangallo,  [see  No.  539.] — Wall-Decoration. 

565.  Sebastiano  Serlio,  (architect,  author;  b.  Bologna,  1475,  d. 

Fontainebleau,  1552;  pupil  of  Peruzzi  [see  No.  146];  student  of  Vitru- 
vius and  of  ancient  remains;  traveled  throughout  Italy;  1541,  architect 
of  Fontainebleau;  wrote  very  learned  treatise  on  the  five  orders.)  Ele- 
[^vation  of  House.  t ^ 

566.  Antonio  Sangallo. — Elevation  and  Section  of  Building. 

567.  Michael  Angelo. — Stairway  and  Corridor. 

568.  570,  572.  Jacopo  Tatti,  called  Sansovino,  (sculptor,  archi- 

tect; b.  Florence,  1479,  d.  1570;  pupil  of  Andrea  Contuccio  [Floren- 
tine, 1460-1529],  Giulio  Sangallo  [1443-1517],  comrade  of  Andrea  del 
• Sarto  [see  No.  23] ; employed  at  Florence  and  Rome;  1527,  driven  to 
Venice;  visited  France;  architect  of  the  Library  of  St.  Mark,  at  Venice; 
author  of  a work  on  floor-construction.)  Studies  of  Entablature 
and  Balustrade. 

569.  M.  A.  Colonna,  [see  No.  242.] — Frieze. 

571.  Antonio  Sangallo. — Archways  and  Balcony. 

573.  Sansovino. — Court-yards. 

574.  Michael  Angelo. — Details. 

575  Roman  School,  (16th  century.) — Ceiling-Decoration. 


CATALOGUE  OF  DRAWINGS. 


37 


576.  Baldassare  Peruzzi,  [see  No.  146.] — Wall-Decoration. 

577.  Antonio  Sangallo. — Details. 

578.  Michael  Angelo. — Details. 

579.  Roman  School,  (16th  century.) — Wall-Decoration. 

580.  Giorgio  Vasari,  (painter,  architect,  author;  b.  Arezzo,  1512, 

d.  1574-6;  taught  by  Michael  Angelo  [see  No.  27],  Andrea  del  Sarto 
[see  No.  23],  II  Rosso  [see  No.  113];  studied  at  Rome;  1544,  went 
to  Naples;  architect  of  Palazzo  Uffizi,  Florence;  first  great  historian  of 
painting; — as  an  artist,  too  hasty  and  ambitious.)  Facade. 

581.  School  of  Michael  Angelo,  [see  No.  27.] — Wall-Deco- 

ration. 

582.  Giovanni  Maria  Galli,  called  Bibiena,  (b.  Bibiena,  near 

Bologna,  1625,  d.  1665;  pupil  and  follower  of  Francesco  Albani  [see 
No.  273];  father  of  several  artists. ) Plaza,  with  Fountain. 

583.  585.  School  of  Michael  Angelo. — Niche. 

584.  586,  587.  Florentine  School,  (16th  century.) — Spandrel, 

and  Details. 

588.  Roman  School,  (16th  century.) — Niche. 

589.  Baldassare  Peruzzi,  [see  No.  146.] — Statue  for  Niche. 

590.  Salviati,  [see  No.  48.] — Niche. 

591.  Pietro  Berretini  da  Cortona,  (painter,  architect;  b.  Cor- 

tona, 1596,  d.  Rome,  1669;  studied  at  Rome;  worked  at  Florence  and 
Venice; — most  successful  in  ceiling-decorations;  composition  elaborate 
and  splendid,  but  often  incorrect  in  detail.)  Corner  of  Ceiling. 

592.  Pietro  da  Cortona. — Frieze. 

593.  School  of  Luca  Giordano,  [see  No.  608.] — Ceiling-Deco- 

ration. 

594.  Unknown. — Facade  of  Building. 

595.  Mauro  Tesi,  (b.  Modenese  state,  1730,  d.  Bologna,  1766; 

with  little  instruction,  became  eminent  as  painter  of  architecture.)  Fa- 
cade and  Ruins. 

596.  Francesco  Guardi,  (see  No.  403.) — Venetian  Scene. 

597.  Pietro  da  Cortona. — Ceiling-Decoration. 

598.  Pietro  da  Cortona. — Frieze. 

599.  Cavalier e Domenico  Cresti,  called  Passignano,  (b.  near 

Florence,  1558,  d.  1638;  pupil  of  Naldini  [Florentine,  1537 — after 


38 


METROPOLITAN  MUSEUM  OF  ART. 


1590]  and  Federico  Zuccaro  [see  No.  69];  visited  Venice;  introduced 
a Venetian  splendor  of  color  into  the  Florentine  style.)  Facade. 

600.  Domenico  Guargena,  called  Fra  Feliciano  da  Messina, 

(b.  Messina,  1610;  pupil  of  Casembroodt  [Dutch,  flourished  about  1650] 
and  of  Guido  [see  No.  212].)  Compartment  of  Ceiling. 

601.  Florentine  School,  (16th- century.) — Plaza,  with  Obelisk. 

602.  Unknown. — Arch  of  Septimius  Severus. 

603.  Giovanni  Battista  Bracelli,  (painter,  engraver;  b.  Genoa 

d.  1609;  pupil  of  G.  B.  Paggi  [Genoese,  1554-1627] ; historical  painter.) 
Composition  of  Archways  and  Stairs. 

604.  Francesco  Guardi,  [see  No.  403.] — Interior  of  Prison. 

605.  School  of  Palladio,  [see  No.  611.] — Ceiling-Decoration. 

606.  School  of  Palladio. — Facade. 

607.  School  of  Palladio. — Wall-Decoration. 

608.  Luca  Giordano,  called  Fa  presto,  “hurry!”,  (b.  Naples, 

1632,  d.  1705;  pupil  of  Lo  Spagnoletto  [see  No.  314]  and  Pietro  da 
Cortona  [see  No.  591];  traveled  in  Italy;  1692,  court-painter  in  Spain; 
afterwards  in  Naples; — the  most  rapid  of  painters;  called  “the  Protean” 
from  his  marvelous  powers  of  imitation.)  Frieze. 

609.  Michael  Angelo,  [see  No.  27.] — Facade. 

610.  School  of  Luca  Giordano. — Ceiling-Decoration. 

611.  Andrea  Palladio,  (architect,  author;  b.  Vicenza,  1518,  d. 

1580;  student  of  Vitruvius  and  of  antique  remains;  successor  of  Sanso- 
vino [see  No.  568]  at  Venice;  designed  many  villas; — learned  and  bold). 
Tuscan  Portico. 

612.  Unknown. — Archways. 

613.  Unknown. — Architectural  Scene. 

614-617.  Venetian  School,  (16th  century.) — Ceiling-Decorations. 

618.  Luca  Giordano,  [see  No.  608.] — Ceiling. 

619.  Luca  Giordano. — Wall-Decoration. 

620.  M.  A.  Colonna,  [see  No.  242] — Frieze. 

621.  628.  Charles  de  la  Fosse,  (b.  Paris,  1640,  d.  1716;  pupil 

of  Charles  le  Brun  [French,  1619-1690];  prize  at  the  Academy;  studied 
Venetian  paintings  in  Italy;  1693,  academician;  invited  to  England; 
popular  and  brilliant.)  Pitchers. 

622.  623.  Giovanni  da  Bologna,  [see  No.  245.] — Halls. 


CATALOGUE  OF  DRAWINGS. 


39 


624.  Giacomone  da  Faenza,  (Faenzese,  flourished  about  1530;. 

pupil  of  his  father;  follower  of  Raphael  [see  No.  2.]  ) Vase. 

625.  School  of  Luca  Giordano. — Wall-Decoration. 

626.  Luca  Giordano. — Frieze. 

627.  Domenico  Guargena,  [see  No.  600.] — Ceiling. 

629.  Unknown. — Rotunda. 

630.  M.  A.  COLONNA. — Corner  of  Ceiling. 

631.  Venetian  School,  (16th  century.) — Ceiling. 

632.  School  of  Luca  Giordano. — Recess. 

633.  Luca  Giordano. — Corner  of  Ceiling. 


INDEX  BY  ARTISTS 


Abbati,  Niccolo  dell’ 51,  94,  123. 

Albani,  Francesco 273,  276,288. 

Alberti,  Cherubino 535,  544,  557. 

Allegri,  Antonio,  da  Correggio,  173, 
188,  193,  194,  195  ?. 
do.  School  of 179. 

Allori,  Cristofano 79. 

Andrea  del  Sarto,  see  Vannucchi. 

Andrea  Mantegna 167,  170. 

do.  School  of 169. 

Bagnacavallo,  see  Ramenghi. 

Bandinelli,  Baccio 35,  38,  41. 

Barbarelli,  G., “Giorgione”.  .352,  361. 

Barbatelli,  see  Poccetti. 

Barbieri,  Giovanni  Francesco,  “Guer- 
cino”.210,  211,  214,  215,  217,  218, 
220,  221,  284,  297,  302. 

Baroccio,  Federico,  140,  141, 149,  150, 
155,  158,  160,  165. 

Bartolommeo,  Fra,  see  Pw'ta. 

Batoni,  Pompeo 99. 

Beccafumi,  Domenico,  “Micarino,” 
127,  129,  130,  131,  132,  134,  139. 

Bella,  Stefano  della. . . .289,  290,  291, 
292,  295,  301. 

Bernini,  G.  Lorenzo,  92,  551,  554,  560. 

Berretini, •Pietro,  da  Cortona,  591,  592, 
597,  598. 

Bibiena,  see  Galli. 

Bonvicino,  Alessandro,  “II  Moretto,” 
191,  192. 

Borgognone,  II,  see  Cortese. 


Boucher,  Francois 511,  519. 

do.  School  of 504. 

Boudewyns,  Anton  Frans 424. 

Bracelli,  Giovanni  Battista 603. 

Bril,  Paul 420. 

Brizzi,  Serafino, 298. 

Bronzino,  Agnolo 78. 


Brun,  Marie  Louise  Elizabette  le..486. 


Brunelleschi,  Filippo 561. 

Bugiardini,  Giuliano 29. 

Buonsignori,  (?) 306. 


Caccia,  Guglielmo,  “II  Moncalvo”.118. 
Cagliari,  Paolo,  “Paul  Veronese”.. 350, 
357,  370,  372,  373,  375,  395?. 
Caldara,  Polidoro,  da  Caravaggio ..  56, 


57,  58,  60. 

do.  School  of 90. 

Callot,  Jacques. . ..483,  484,  487,  488, 
492,  497,  498,  499,  503,  505,  506, 
507,  512,  513,  514,  518. 

Cambiaso,  Luca 183,  185. 

Campagnola,  Domenico 344. 

Caracci,  Agostino 254,  259. 


Caracci,  Annibale.  .224,  235,  248,  256, 
260,  261,  268. 

Caracci,  Ludovico.  225,  232?,  233?, 
244,  255. 

Caraccis,  School  of  the,  236,  237,  240, 
243,  246,  247,  262. 

Caravaggio,  Michele  A.  Angelo  da.  31 3. 

Carpione,  Giulio 397. 

Carrucci,  Jacopo,  da  Pontormo,  30,  74, 
75,  108. 

Castiglione,  Giovanni  Benedetto.  .204. 

Cellini,  Benvenuto 43,  70. 

Cignani,  Carlo 282,  293,  308. 

Claude  Lorraine,  see  Gelee. 

Clouet,  see  Janet. 

Coello,  Claudio 464. 

Colonna,  Michele  Angelo,  242,  280, 
300,  304,  310,  569,  620,  630. 

Correggio,  see  Allegri. 

Cortese,  Jacopo,  “II  Borgognone,” 
485,  491,  493,  495. 

Cortona,  Pietro  da,  see  Berretini. 

Costa,  Lorenzo 161. 

Cranach,  see  Sunder. 

Cresti,  Domenico,  “Passignano”.  .599. 


42 


INDEX  BY  ARTISTS. 


Creti,  Donato 202. 

Damini,  Pietro 163. 

Daniele  da  Volterra,  see  Ricciarelli. 
Discepoli,  Giov.  Battista,  “ II  Zoppo,” 
299. 

Diziani,  Gasparo 398. 

Domenichino,  see  Zampieri. 

Durante,  Giorgio.  .196,  197,  198,  200, 
201,  203,  205,  206,  207. 

Diirer,  Albrecht 446,  453?. 

Faenza,  Giacomo  da 624. 

Fattore,  II,  see  Penni. 

Feliciano,  Fra,  see  Guan/ena. 

Ferrari,  Gaudenzio. 187. 

Fischetti,  Fidele,  (?) 334. 

Fosse,  Charles  de  la 621,  628. 

Fratta,  (?) 281,  285. 

Galli,  Giovanni  Maria,  “Bibiena”.582. 

Gandolfi,  Ubaldo 309,  312. 

Gelee,  Claude,  “Claude  Lorraine”. 490, 
494,  500,  501.  502,  508,  510. 
Gerretz,  Rembrandt,  van  Rhyn.  . .411, 
414,415,416,418,422,438,439,440. 
Gherado  dalle  Notti,  see  Honthorst. 

Ghiberti,  Lorenzo.  Ill  ?,  112?. 

Giordano, Luca, 608,  618,  6l9,  626,  633. 

do.  School  of,  593,  616,  625,  632. 
Giorgione,  see  Barbarelli. 

Giovanni  da  Bologna. . .245,  252,  264, 
270,  622,  623. 

Giovanni  da  S.  Giovanni,  see  Manozzi. 
Giulio  Romano. . .7,  8,  13,  15,  50,  52, 
61,63,  117. 

do.  School  of  53. 


Golgio,  (?) 116. 

Graffi,  Niccolo,(?) 347. 

Greco,  II,  see  Teoscopoli. 

Greuze,  Jean  Baptiste. 523. 

Guardi,  Francesco 403,  596,  604. 


Guargena,  Domenico, “Fra  Feliciano,” 
600,  627. 

Guercino,  see  Barbieri. 

Honthorst,  Gerard,  “Gherado  dalle 


Notti” 106. 

Jacobs,  Lucas,  van  Leyden.. 405,  406, 
407,  408,  409,  410,  412. 

Janet,  Frangois  Clouet 482. 


( Jouvenet,  Jean 480. 

Lanfranco  Giovanni 95. 

Leyden,  Lucas  van,  see  Jacobs. 

Lionardo  da  Vinci 174?,  176?. 

Lodi,  Ermenigildo 189. 

Lotti,  or  Loth,  Giovanni  Carlo. . .101. 

Lucchesino,  II,  see  Testa. 

Luini,  Bernardino 175,  178. 

do.  School  of 208. 

Manozzi,  Giovanni,  da  S.  Giovanni, 83. 

Mantegna,  see  Andrea. 

Maratti,  Carlo 97. 

Masaccio,  II 22. 

Maturino 17. 

Mazzola,  Gerolamo  F.  M.,  ‘ II  Parme- 

giano,”  171,177,  181,182,186. 
Medula,  II,  see  Schiavone. 

Micarino,  see  Beccafumi. 

Michele  Angelo  Buonarrotti,  27,  40, 
66,  562,  563,  567,  574,  578,  609. 
do.  School  of,  42,  45,  46,  49, 109, 


527,  581,  583,  585. 

Moncalvo,  II,  see  Caccia. 

Moreau,  Jean  Michel 524,  525. 

Moretto,  II,  see  Bonvicino. 

Murillo,  BartolomS  Esteban,  455,  469, 
470,  471,  479. 

do.  School  of 472,475. 

Ostade,  Adrian  van 419. 

Pacheco,  Francisco 465. 

Palladio,  Andrea 611. 

do.  School  of...  .605,606,607. 


Palma,  Jacopo,  il  Giovane.  .*386,  387. 
Palma,  Jacopo,  il  Vecchio,  338,  340, 
341,  343,  353. 

Pannini,  Giovanni  Paolo 120,  537. 

Parmegiano,  II,  see  Mazzola. 
Passignano,  see  Cresti. 

Penni,  Giov.  Francesco,  “11  Fattore,” 
5,  12. 

Perugino,  see  Vannucci. 

Peruzzi,  Baldassare,  da  Siena  . . . 146, 
156,  576,  589. 

Piola,  Pellegro 190. 

Piombo,  del,  see  Sebastiano. 
Pocetti,(Barbatelli),  Bernardino,  76, 238. 
Polidoro  da  Caravaggio,  see  Caldara. 


INDEX  BY  ARTISTS. 


43 


Polidoro  Veneziano  . . ..342,  354,  356. 

Pollajuolo,  Antonio 20,  21. 

Pontormo,  see  Carrucci. 

Porta,  Baccio  della,  “Fra  Bartolom- 
meo” 31,  32,  33. 

Pourbus,  Francis,  the  Younger. . .426. 

Poussin,  Nicholas 481,  496,  515. 

Pozzo,  Andrea 100,  126,  550. 

Primatticcio,  Franc., 222,  229,  230, 234. 

Raffaello  Sanzio  da  Urbino 2,  3. 

do.  School  of.  .1,  4,  6,  9, 10, 14, 
16,  19,  55,  65. 

Raimondi,  Marco  Antonio 11,  18. 

Ramenghi,  Bartolommeo,  da  Bagnaca- 
vallo/250. 

Razzi,  Giovanni  Antonio,  “II  Sodo- 
ma,”  153,  154. 

Rembrandt,  see  Gerretz. 

Reni,  Guido.  .212,  213,  216,  219,  275, 
277,  278,  286,  287,  311 . 

Ribera,  Josef,  “Lo  Spagnoletto” . .314, 
315,  316,  317,  318,  319,  320,  608. 
do.  School  of 322. 

Ricciarelli,  Daniele,  da  Volterra. . ..89, 
115,  532,  536,  540,  541,  542,  543, 
556,  558,  559. 

Robusti,  Giacomo,  “II  Tintoretto,” 
374,  379,  383,  384,  385,  388,  389, 
390,  391,  392,  393,  394. 

Roos,  Philip,  “Rosa  da  Tivoli, ”..105. 

Rosa,  Salvator,  321,  323,  324,  325, 

326, 327,  328,  330,  332,  333,  335,  337. 


do.  School  of 329. 

Rosetti,  Giovanni  Paolo 28,  145  ?. 

Rosso,  II 113. 

Rubens, Peter  Paul,  431,  432,  433,  434. 

Ruysdael,  Jacob 421. 


Salviati,  Francesco  dei  Rossi  di,  48, 
68,  107,  590. 

Sangallo,  Antonio. 539,  564,566,  577. 
Sansovino,  see  Tatti. 

Sarto,  del,  see  Vannucchi. 

Schiavone,  Andrea,  “II  Medula,”348. 
Schoen,  or  Schongauer,  Martin . . . 454. 
Sebastiano  “del  Piombo,”  Fra. . . .54. 


Serlio,  Sebastiano 565. 

Sirani,  Elizabetta 307. 


Sodoma,  II,  see  Razzi. 
Spagnoletto,  Lo,  see  Ribera. 


Subleyras,  Pierre 509. 

Sueur,  Eustace  le 489. 

Sunder,  Lucas,  “Cranach,” 452. 


Tatti,  Jacopo,  “Sansovino,”  568,  570, 
572,  573. 

Tempesta,  Antonio,  37,  44,  47,  72,  77, 
81,  82,  85,  86,  87,  136. 

Teniers,  David,  the  Elder, 417, 441 , 442. 

Teniers,  David,  the  Younger. . . .423. 

Teoscopoli, Domenico,  “II  Greco,”  463. 

Tesi,  Mauro 595. 

Testa,  Pietro,  “II  Lucchesino,”  121, 
124. 

Tibaldi,  Pellegrino,  223,  226,  227,  228, 
549,  258,  265,  271. 

Tiepolo,  Giovanni  Battista,  376,  377, 
378,  380,  381,  382,  399. 

Tintoretto,  II,  see  Robusti. 

Titi,  Santo  di 71. 

Titian,  see  Vecelli. 

Udine,  Giov.  da,  545, 546, 547,  552,553. 

Umbach,  Jonas,  the  Younger. . . .447. 

Unknown,  Bolognese , 239,  241,  253, 
257,  263,  269,  274,  279,  294,  296, 
303,  305. — Cremonese,  199. — Dutch 
or  Flemish,  425,  428,  429,  430, 437, 
444,  445. — Ferrarese,  162,  164. — 
Florentine,  67,  584,  586,  587,  601. 
— French,  517. — German , 448,  450, 
451 . — Modenese , 144.  — Neapolitan, 
331,  336. — -Parmese,  168,  180.— 
Roman,  88,  91,  93,  96,  98,  102, 103, 
104,  110,  119,  122,  125,  526,  529, 
530,  531,  533,  538,  548,  549,  555, 
575,  579,  588. — Sienese,  137,  138, 
142,  143,  147  ?,  148,  157,  159,  166. 
—Spanish,  456,  466,  478. — Vene- 
tian, 360,  396,  400,  404,  614,  615, 
616,  617,  631. — Unassigned,  528, 
534,  594,  602,  612,  613,  629. 

Vaga,  Pierino  del 59,  62,  64,  114. 

Vandyck,  Anthony  413,  427,  435,  436, 
443. 

Vanni,  Francesco.  .133,  135,  151,  152. 


44 


INDEX  BY  ARTISTS. 


Vannucchi,  Andrea, “del  Sarto”. . ..23, 
24,  25,  26,  28,  34,  36,  39. 
Vannucci,  Pietro,  “Perugino,”172,  184. 

Vasari,  Giorgio 580. 

Vecelli,  Tiziano,  da  Cadore.  .339,  346, 
351,  355,  359,  362,  363,  365,  366, 
367,  369. 

do.  School  of 345,  349, 

358,  364,  368,  371,  401. 

Velasquez,  Diego,  de  Silva.  .459,  460, 
462,  467,  468,  474.  476,  477. 
Veronese,  Carlo,  (?)  402.  1 


Veronese,  Paul,  see  Cagliari. 

Wagner,  Johann  Georg .449. 

Watteau,  Antoine,  .516,  520,  521,  522. 
Zampieri,  Domenico,  “Domenichino,” 
209,  231,  266,  267,  272. 

do.  School  of 251. 

Zoppo,  II,  see  Discepoli. 

Zuccarelli,  Francesco 80. 

Zuccaro,  Federico 69,  73. 

Zuccaro,  Taddeo 84. 

Zurbaran,  Francisco. .. .457,  461,  473. 


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